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PRONUNCIATION FOR SINGERS.

PRONUNCIATION

FOR SINGERS.

WITH ESPECIAL REFERENCE TO THE

i0|r, fernm, Jtalxan, anft Jfmittr

WITH NUMEROUS EXAMPLES AND EXERCISES FOR THE USE OF
TEACHERS AND ADVANCED STUDENTS.

ALEXANDER J. ELLIS,

B.A., LITT.D., F.R.S., F.S.A., F.C.P.S., F.C.P.,

Late Viet- President (formerly President) of the Philological Society, Member of the Mathematical Society,
Member of the Musical Association, Honorary Member of the Council of the Tonic Sol-fa College,

Formerly Scholar of Trinity College, Cambridge.
Author of " Early English Pronunciation" Translator of HELMHOLTZ'S " Sensations of Tone"

J. CURWEN & SONS, 8 & 9 WARWICK LANE, E.G.

ici ls& Shillings and Sixpence.

LONDON :

J. CTJRWEN & SONS, MUSIC PEINTER8,
PLAISTOW, B.

CONTENTS.

The letters a, 6, following the number of the page indicate first and second columns respectively.

Preface, p. x.

SECTION I. Speaking and Singing Contrasted,

pp. 1-6.
Singers and Speakers, p. la.

(1) Singing and Speaking differ in Compass, p. la.

(2) Singing is at Sustained, Speaking at Gliding
Pitch, p. H.

(3) Singing requires a Clear, Speaking an Impeded
Passage for the Breath, p. 2.

(4) Singing has to be Rapid or Slurred, where
Speaking cannot be so, p. 2".

Vowels must be arranged in Genera or Kinds, p. 2b.
The Relations of Vowels to Pitch, p. 36.
Effect of Pitch on the word " Peep," p. 43.
Effect of Pitch on the word " Through," p. 5a.
When " Peep " and " Pool " should be " Pip " and

" Pull" prolonged, p. bb.
Effect of Pitch on the word " Glass," p. 5b.
Effect of Pitch on "Peep through glass," p. 5b.
Effect of Pitch on "All on, Those, Door, Rushed,

Panes, Fence," p. Qa.
Results of the preceding Examination, p. 6b.

SECTION II. Vowel Quality of Tone, pp. 7-11.
Musical Qualities of Tone first explained by Prof.

Helmholtz, p. 110.
Simple Vibration, p. lla.
Compound Vibration, p. lib.
Simple and Compound Sounds, p. Sa.
Experiments on Resonance. Resonance Chambers.

Vibrational Number and Pitch, p. 8a.
Nature of Musical Quality of Tone, p. 9a.

Quality of Tone of the Singing Voice, p. 9*.
Vowel Quality of Tone due to Resonance, p. 10a.
Experiments on the Nature of Vowel Qualities of
Tone, p. 10*.

SECTION III. Short Key to Glossic, Diagrams.

Systematic Arrangement of Speech -sounds,

pp. 12-17.

Description of the following Tables, p. 120.
English Glossic. p. 120, b.
Foreign Glossic, p. 130, b.
Diagrams of Positions for Vowels and Consonants,

p. 14.

Descriptions of the Diagrams, p. 15,
Systematic Arrangement of English, German,

Italian, and French Speech-sounds, p. 16.

SECTION IV. Mode of Producing Speech-sounds,
pp. 18-23.

Flatus or Audible Breath, p. ISa.

Vocal Chords, p. 180.

Whisper as distinguished from Flatus, p. ISb.

Voice and Original Quality of Tone, p. ISb.

The Resonance Cavities, p. 190.

Brief Definitions of Breath, Flatus, Whisper, and
Voice as Originators, and Throat, Nose, and
Mouth as Modifiers of Sound, p. 19*.

How to Study the Effect of the Modifiers, p. 200;
Throat Modifications, p. 200; Nose Modifications,
p. 20*; Mouth Modifications Action of Teeth
and Lips, p. 220 ; Mouth Modifications Action
of Tongue, p. 22.

Object of these Experiments and Observations,
p. 23*.

CONTENTS.

SECTION V. Vowels, pp. 24-41.

Definition of a Vowel, p. 240.

''Genera" and "Species" of Vowels, p. 240.

How the Forms of the Resonance Cavities for
Vowels are to be Described, p. 250 Throat,
p. 250 ; Nose, p. 250 ; Mouth, p. 255 ; Arches,
p. 255; Cheeks, p. 255; Teeth, p. 255; Lips
(open, high -round, mid -round, low-round),
p. 260; Tongue (back, front, point or tip),
p. 265.

Description of Systematic Arrangement of the
Vowels on p. 16, p. 270.

Mode of Observing, Mirror and Probe, p. 275.

1. High-front and High-mixed Oral Vowels, pp.
28-29 EE, p. 280; I, p. 280; EE and I, p. 285;
I',p. 290; TIE, p. 290; EE, I, TIE, p. 295.

2. Mai-front Oral Vowels, pp. 30-31 AI, p. 300;
E, p. 305; EO, OE, p. 310; I, TIE; E, OE,
p. 315.

3. Low-Front Oral Vowels, pp. 31-32 A, p. 315 ;
A and AE, p. 320, and fheir Rounded Forms,
p. 325.

5. Mid-mixed, 6. Low-mixed, 8. Mid-back, 9. Low-
back, Oral Vowels, pp. 32-36 AA, AH, A',
p. 335; U, UU, p. 310; U, U', E', p. 345;
AO, p. 350; ATI, O, p. 350; OA, AO, p. 355;
U UU, A' AA AH, OA AO AU 0, p. 360.

7. High-back Oral Vowels, p. 36500, p. 365;
UE, UU', 00, O'O, p. 370; UO, U', p. 375;
U', p. 380 ; UO', p. 380.

The Musical Vowel Scale, p. 380 and p. 390.

French Orinasal Vowels or Nasals, p. 395 N',
p. 395; AEN', p. 400; AHN', p. 400; OAN',
p. 405; OEN', p. 410.

Character of French Nasality, p. 410.

SECTION VI. Vowel Glides, Diphthongs, Triph-
thongs, and Vocal K, pp. 42-55.
The Nature of Glides. Pitch Glides, p. 420.
Vowel Glides, p. 420.
Temporary Symbolisation of Vowel Glides, and

Effects of Crescendo and Diminuendo, p. 425.
Nature of Diphthongs, p. 430.
Permanent Symbolisation of Vowel Glides, p. 435.

Unanalysed Glossic Diphthongs, p. 435.

1. First Class of Diphthongs with weak EE final,
p. 440; El English, spoken=m, 0't, permissibly
00t, WM, never ahi, am, oat, never t aai, p. 440 ;
El English, sung=a<n or 00-0'?, p. 445; El
German=00 or ahee, sometimes aaiie, p. 445 ;
El Italian, Vowel Slurs- 00-00, da-ee, p. 45;
El French=00-ee, p. 455 ; 01 English=awt, am,
oe, never 001, p. 455; 01 German=o, p. 455;
OI Italian=0o-e7, p. 460 ; OI French, altered
to ooee, p. 470.

Abbreviated Analytic Forms for El Diphthongs,
as aay, uy, &c., p. 460 ATY English " vanish,"
p. 460 AIY German, p. 465 ; AIY, AEY
Italian=0i-2, ae-ee, p. 465 ; AEY French=
ae-ee, p. 465; OAY German, p. 465; OAY,
AOY French, p. 465 ; OOY, German, p. 465 ;
OOY Italian, p. 465; OOY French, p. 465;
OEY French, p. 470; UEY French, p. 470.

2. Second Class of Diphthongs with weak OO
final, p. 470 ; OU English, spoken, p. 470 ; OU
English, sung, p. 475 ; OU German, p. 475 ;
OU Italian, p. 475; OU, French, p. 475.

Abbreviated Analytic Forms of OQ Diphthongs,
p. 475 ; OA-W English vanish," p. 475.

3. Third Class of Diphthongs with weak EE
initial, p. 480; EU English, p. 480; EU German
(none), p. 485; EU Italian, p. 485; EU French
(none), p. 485.

Abbreviated Analytic Forms of EU Diphthongs,
with initial Y, p. 485.

4. Fourth class of diphthongs with weak OO
initial, p. 490 : In English, p. 490 ; in German
(none), p. 490; in Italian, p. 490; in French,
p. 490 ; iieEE French, p. 495.

Abbreviated Glossic Forms for the 00 and UE
weak initial Diphthongs, with W and WY',
p. 500.

Triphthongs, p. 50.

5. Fifth Class of Diphthongs ending in an obscure
U, and hence called Murmur Diphthongs, p.
500 ; Vanish Murmur Diphthongs AAii, AUu,
p. 505; True Murmur Diphthongs EER, AIR,
OAR, OOR, p. 505; Inserted R', p. 515.

CONTENTS.

Rules for the Use and Avoidance of English Mur-
mur Diphthongs, p. 515.

Murmur Triphthongs, p. 52a ; EIR, OIR, p. 52 ;
E1RR', EIERR', EIUR', p. 525 ; OUR, OURR',
OUERR', OU-UR', p. 525; EUR, EURR', p. 525.

Vocal R or ER, equal to U', UU' long, p. 530;
Vocal R or ER in Weak Syllables, p. 525;
Distinction between Weak Final A and Weak
Final ER, p. 525 ; Dissyllables in ER dis-
tinguished from Murmur Diphthongs and
Triphthongs in R, p. 545 ; No Vocal R in
German, Italian, and French, p. 55a.

6. Sixth Class of Diphthongs, arising from Tongue
Glides, Lip Glides, Throat Glides, and Nose
Glides, as ai"y, 00, 6a, oa'w, ue=iue, eo=aieo, ee,
p. 550.

SECTION VII. Glottids, Attack and Kelease of

Vowels, Aspirates, pp. 56-60.
Glottids Defined, p. 560.
H, Flatus, glottis open, p. 560.
H', Whisper, glottis contracted, p. 565.
H', Voice, glottis closed, the edges of the vocal

chords being in contact, p. 565.
I, Gradual Glottid, p. 570.
;, Clear Glottid, p. 575.
;, Check Glottid, p. 580.
H, or Jerk, HH, HI, H;, Aspirate, p. 585.
Croak, Bleat, Wheeze, p. 605.
Why H is the only Glottid written in ordinary

Glossic, p. 605.

SECTION VIII. Consonants, pp. 61-86.
Voiced Consonants, p. 610.
Flated Consonants, p. 6 la.
Whispered and Gradual Consonants, p. 6 la.
Mute Consonants, p. 615.

Systematic Arrangement of the Consonants, p. 615.
Oral and Nasal Consonants, p. 620.
Oral Consonants, p. 620.
Shut Oral Consonants, Mute, Imploded, Sonant,

p. 620.

Central Oral Consonants, Hisses and Buzzes, p. 625.
Lateral Oral Consonants, or L Class, p. 63a.

Trilled Oral Consonants, or R' Class, p. 630

Contacts and Approximations, p. 630.

1 and 2. Oral Consonants with Lips (1) Roind,

and (2) Flat, pp. 635-665.
P. Shut Mute, p. 63b.
B. Shut Sonant, p. 635.
B. Shut Implodent, p. 64.
W, V, Central Buzzes, and WH, F, Central

Hisses, p. 645.
<BR, <WR, Lip-triUed Buzzes, and 'PR Lip-

trilled Hiss, p. 660.
1. Nasal Consonants with Oral Resonance limited

by Round Lips, pp. 665-675.
M Shut Hum, and MH Shut Snort, p. 665.

3. Oral Consonants with Lips and Teeth, pp.

675-685.
F Central Hiss, and V Central Buzz, p. 675.

4. Oral Consonants with Teeth and Point of

Tongue, p. 685.
TH Central Hiss, and DH Central Buzz, p. 685.

5. 6, 7, and 8. Oral Consonants, with (5) Gums

and Point of Tongue, (6) Palate and Point
of Tongue, (7) the Front of the Tongue
Arched, or Convex towards the Hard Palate,
and (8) the Front of the Tongue Hollowed, or
Concave towards the Hard Palate, pp. 690-765.

T, T\ ,T Shut Mutes; D, D', ,D Shut Sonants,
Q D, D', ( D Shut Lnplodents, p. 690.

S, SH, S', T'H Central Hisses, and Z, ZH, Z\
D'H Central Buzzes, p. 705.

L, L', 'L, 4 L Lateral Murmurs, and LH, L'H,
'LH, 4 LH Lateral Hisses, p. 730.

R', R", ,R Point-trilled Buzzes, ,,R Point Rise,

and R'H, R"H Point-trilled Hisses, p. 745.
5, 6, and 8. Nasal Consonants, with Oral Re-
sonance limited by (5) Gums and Point of
Tongue, (6) Palate and Point of Tongue,
(8) Palate and Reverted Tongue, pp. 770-785.

N, N", 4 N Shut Hums, and NH, N"H Shut

Snorts, p. 11 a,

9, 10, 11. Oral Consonants with (9) Front and
Point of Tongue and Palate, (10) Front of
Tongue and Palate, (11) Front and Back of
Tongue and Palate, pp. 785 820.

CONTENTS

Y Central Buzz, and YH Central Hiss, p. 784.

CJT Shut Mute, and J' Shut Sonant, with the
Consonantal Diphthongs CH Hissed and J
Buzzed, and their true first elements, TY'
Shut Mute, and DY' Shut Sonant, and second
elements, SH' Central Hiss and ZH' Central
Buzz, p. 790.

KY' Shut Mute, and GY' Shut Sonant, with
their derivatives KY'H Central Hiss and
GY'H Central Buzz, p. 804.

LY' Lateral Buzz, p. 814.

9. Nasal Consonant with Front and Point of
Tongue, p. 820.

NY' Shut Hum, p. 820.

12 and 13. Oral Consonants with (12) Back of
Tongue, and (13) Back of Tongue and Lips*
pp. 824-840; K, KW Shut Mutes, G, GW
Shut Sonants, and G Shut Implodent, p. 824.

KH, KW'H Central Hisses, and" GH, GWH
Central Buzzes, p. 830.

'R, 'GH Back Trilled Buzzes, "R Uvula Rise,

<RH, 'KH Back Trilled Hisses, p. 834.
12. Nasal Consonant with Back of the Tongue,
p. 840.

NG Shut Hum, and NGH Shut Snort, p. 84.
Musical Qualities of Consonants, p. 850.
Gradual Transition from Vowels to Consonants;

Vowels, Vocals, Glides, Buzzes, Sonants, Slurs,

Hisses, Implodeiits, Mutes, p. 86.

SECTION IX. Mixed and Consonant Glides,
Syllables, pp. 87-102.

Vowel, Mixed, and Consonant Glides defined and

distinguished, p. 870.

Murmur Triphthongs reconsidered, p. 874.
Action of a Vowel between two other Vowels

Syllables, 874 ; Substitution of Silence and Slur

for Glide, p. 874.
Action of a Vocal between two Vowels Syllables,

p. 88*.

Action of a Buzz or Sonant between two Vowels,

p. 89a.

Action of a Hiss between two Vowels, p. 890.
Action of a Mute between two Vowels Recoil,

p. 894.
Vowels running on to Consonants, and conversely,

Open and Closed Vowels, Final and Initial

Glides, Medial, Double, and Split Consonants,

p. 904. .

Tight and Loose Mixed Glides, p. 9 la.
Initial Mixed Glides from Voiced Consonants and

Hisses, p. 914.

Initial Mixed Glides from Mutes, p. 924.
Final Mixed Glides on to Voiced Consonants and

Hisses, p. 930.
Final Mixed Glides on to Mutes, Recoil with

Flatus, Click, or , Voice, p. 940.
Consonant Glide from Vocal to Vocal, p. 944.
Consonant Glide from Vocal to Buzz, p. 950,
Consonant Glide from Buzz to Buzz, p. 954.
Consonant Glides from Sonants to Vocals at the

end of words, p. 954.
Consonant Glides from Sonants to Vocals, and to the

Buzzes W, Y at the beginning of words, p. 960.
Consonant Glide of Vocal to Sonant at the end of

words, p. 97.
Consonant Glides between Buzzes and Sonants,

and between Sonants and Sonants, p. 970.
Rule for Consonant Glides when one Consonant

is Voiced and the other Voiceless, p. 980.
Initial Consonant Glides from Mute to Vocal, or

to the Buzzes W, Y, p. 980.
Final Consonant Glides of Vocal on to Mute and

Hiss, -Ip, -It, -Ik, -mp, -ngk, p. 980.
Initial Consonant Glides of a Hiss on to a Vocal,

or the Buzzes W, Y, p. 994.
Consonant Glides between S and Mutes, p. 1000.
Treatment of Combinations of Two Mutes, and of

Initial Mute before M, N, S, p. 1000.
Principle of the Division of Syllables, p. 1004.
Special Rules for Dividing Consonants between

two Syllables, p. 1014.

CONTENTS.

Til

SECTION X. Length (or Quantity), Pitch (or
Musical Accent), Force (or Ordinary Accent and
Emphasis), Quality of Tone, Weight (or Im-
portance) and Silence (or Pause), as Elements
of Speech, pp. 103-108.

Introduction, p. 103.

Length of Spoken Sounds and its Notation,
p. 1030.

Pitch of Spoken Sounds and its Notation, p. 1040.

Force of Spoken Sounds and its Notation, p. 104*.

Quality of Tone in Spoken Sounds, and why it is
not furnished with a Notation, p. 1070.

Weight of Spoken Sounds, p. 107*.

Silence as an Element of Speech, and its Notation,
p. 107*.

SECTION XI. Exercises, pp. 109-150.
Introductory Eemarks, p. 1090.

A. ENGLISH EXERCISES, pp. 110-143.

I. Artificial Strong Syllables, pp. 1 100-1286.
General Tables of English Sounds, p. 1100.

Chart of English Sounds, p. 110*.

English Initial Combinations of Consonants,
p. 1100, *.

English Final Combinations of Consonants,

p. 1110, b.

Mode of Marking Time in the Exercises, p. 1120.
Ex. 1. To Discover any Defects in Pronunciation

in order to' direct future practice, p. 1120.
Ex. 2. The Vowel ee, and Mixed Glides for Mutes,

p. 113tf.
Ex. 3. The Vowel ai, and Mixed Glides for Mutes,

p. 113*.
Ex. 4. The Vowel 00, and Mixed Glides for Mutes,

p. 114.
Ex. 5. The Vowel au, and Mixed Glides for Mutes,

p. 1140.
Ex. 6. The Vowel oa, and Mixed Glides for Mutes,

p. 114*.
Ex-. 7. The Vowel oo, and Mixed Glides for Mutes,

p. 1150.
Ex. 8. Miscellaneous Vowels, ee, ai, aa, au, oa, oo,

and Mixed Glides for Mutes, at different pitches,

p. 1150.

Ex. 9. The Vowels ee, ai, an, au, oa. oo, and Mixed
Glides for Sonants, p. 115*.

Ex. 10. Mixed Glides for Mutes and Sonants com-
pared, p. 1170.

Ex. 11. On the Effect of both Pitch and Glide on
each Long Vowel, p. 117*.

Ex. 12. On the Short Vowels, lengthened in sing-
ing, p. 1180.

Ex. 13. Un the Hisses, p. 121*.

Ex. 14. On the Buzzes as contrasted with the
Hisses, Mutes, and Sonants, p. 1220.

Ex. 15. On the Diphthongs ei t oi, ou, eu, p. 123.

Ex. 16. On the Aspirate, p. 1240.

Ex. 17. On the Vanishes avy, oa-w, p. 1240.

Ex. 18. On the Compound Hisses and Buzzes ch,j,
p. 1250.

Ex. 19. On the Vocals /, in, n. ng, p. 1250.

Ex. 20. On the Trill r' and Vocal r, p. 126*.

Ex. 21. On Initial Combinations of Consonants,
p. 1270.

Ex. 22. On Final Combinations of Consonants,
p. 127*.

Ex. 23. On both Initial and Final Combinations
of Consonants at once, p. 1 280.

II. Actual Words, pp. 128*- 138*.

Ex. 24. Contrast of ee and *, p. 128* ; ,0 On open
ee and i, p. 128* ; (* On closed ee and i, p. 128*;
(c] On open ee followed by i, p. 1290 ; (d] On
long i before vocal r, p. 1290 ; (e) On short weak
i to be distinguished from u or ee, p. 129*.

Ex. 25. Contrast of ai, e, 0, p. 129*.

Ex. 26. Contrast of au, o, p. 130*.

Ex. 27. Contrast of au, oa, o, u, p. 130*.

Ex. 28. Contrast of oa-er, oar, au, p. 1310.

Ex. 29. Contrast of weak oa and er, p. 1310.

Ex. 30. Contrast of 00 and oo, p. 131*.

Ex. 31. On oo, p. 131*.

Ex. 32. Contrast of oo, uo, u, p. 1320.

Ex. 33. On long u or vocal er, p. 132*.

Ex. 34. On the Diphthong ei, p. 1330.

Ex. 35. Contrast of ai and ei, p. 133*.

Ex. 36. On the Diphthong oi, p. 1340.

Ex. 37. On the Diphthong ou, p. 134*.

CONTENTS.

hx. 38. Contrast of oa and ou, p. 1350.

Ex. 39. On the Diphthong eu, p. 1355.

Ex. 40. On the Murmur Diphthongs and Triph-
thongs, or Vocal R and Trilled R', p. 1355.

Ex. 41. On Words of Two Syllables apt to be
pronounced as Words of One Syllable, p. 1380.

Ex. 42 On the Mixed and Consonant Glides,
p. 1385.

III. Weak Syllables, pp. 1385-1435.

Ex. 43. On Terminations involving R, L, M, N,
p. 1385.

Ex. 44. On other Weak Endings, p. 1400.

Ex. 45. On Weak Beginnings, p. 1410.

Ex. 46. On Weak Words, p. 1415.

Ex. 47. On Alternations of Strong and Weak
Syllables, p. 1425.

B. GERMAN EXERCISES, pp. 144-146.

Sx. 48. On the Elementary Gernian Speech-
sounds, p. 144a.

C. ITALIAN EXERCISES, pp. 147-148.

Ex. 49. On the Elementary Italian Speech-sounds,
p. 1470.

D. FRENCH EXERCISES, pp. 149-150.

Ex. 50. On the Elementary French Speech-sounds,
p. 149".

SECTION XII. Glossic Index, pp. 151-181.
Explanation of the Arrangement, p. 15 la.
Letters and Combinations in Alphabetical Order,

p. 1520.
Signs, p. 179.

SECTION XIII. English Pronouncing Dictionaries,

pp. 182-189.
English Pronouncing Dictionaries necessary, p.

1820.

Walker, p. 1835 ; Walker's Key Words, p. 1845.
Smart, p. 1850 ; Smart's Key Words, p. 1855.
Worcester, p. 1875 ; Worcester's Key Words,

p. 1880.
Ogilvie and Cull, p. 189; Ogilvie and Cull's Key

Words p. 1895

SECTION XIV. Alphabetical Keys to Germau

Italian, and French, pp. 190-211.
Introduction, p. 1900.

I. German, pp. 1900-1920. A. The Orthographi-
cal or Low Saxon System of Pronunciation,
p. 1900. B. The Historical System of Pronun-
ciation, p. 1910. C. The Practical System of
Pronunciation, p. 1910.

II. Italian, pp. 1920.

III. French, pp. 1920.

Explanations of Foreign Sounds, pp. 193-195.
Six Vowels, heard in Provincial English, ae, ah,

00, w<?, eo y oe r p. 1930.
Four Nasal Vowels peculiar to the French, aen\

ahn\ oari ', oen\ p. 1935.
Six German Consonants, kh, gh, Jcy'h, gy'h, /', v* ,

p. 1940.
Two Liquid Consonants peculiar to Italian and

French, p. 1945.

Two Consonantal Diphthongs, p. 1945.
Cautions for English Speakers, p. 1 945.

I. Alphabetical Key to German Pronunciation,
pp. 196-198.

II. Alphabetical Key to Italian Pronunciation,
pp. 199-201.

Ecclesiastical Latin, pp. 202-204.

III. Alphabetical Key to French Pronunciation,
pp. 205-211.

Note on " Liaisons," p. 211.

SECTION XV. Examples of Songs in German,

Italian, and French, pp. 212-241.
Arrangement, p. 2120.

I. Left hand column, Original Orthography,
p. 2120.

II. Right hand column, Pronunciation in Glossic,
p. 2120.

(1) German, p. 2125.

(2) Italian, p. 2130.

(3) French, p. 2135.

III. Bottom of page, Translation, p. 215

CQMTLXTfe.

I. GERMAN SONGS, pp. 217-224.

1 " Maiglockchen und die Bliimelein," p. 217.

2 " Ich wollt' meine Lieb',"p. 218.

3. ' Wie kann ich froh," p. 218.

4. " Isis und Osiris," p. 219.

5. " In diesen heiligen Hallen," p. 219.

6. " Der Erlkonig," p. 220.

7. " Der Wanderer," p. 222.

8. " Adelaide," p. 223.

9. " Lebewohl," p. 224.

II. ITALIAN SONGS, pp. 225-230.

1. " Diserto sulla Terra," p. 225.

2. " II balen del suo sorriso," p. 225.

3. " Stride la Vampa," p. 226.

4. " Soave imagine," p. 227.

5. " Lascia ch'io pianga," p. 227.

6. " Non piu andrai," p. 228.

7. "None ver?" p 229.

8. " Pur dicesti," p. 229.

9. " Possenti Numi," p. 230. See German, No. 4.

10. " Qui sdegno non s' accende," p. 230. See

German, No. 5.

11. " Stabat Mater" ^Ecclesiastical Lalrin), p. 231.

III. FRENCH SONGS, pp. 234-241.

1. " Ou voulez-vous aller ? " p. 234.

2. Serenade (Berceuse), p. 235.

3. "Robert! toi que j'aime! " p. 236.

4. La Manola, p. 237.

5. " Partant pour la Syrie," p. 238.

6. La Marseillaise, p. 240.

SECTION XVI. Pronunciation of the Names of
German, Italian, and French Composers, with a
few others, pp. 242-246.

Introduction, p. 242.

Alphabetical List, p. 242*.

PREFACE.

On 27th, 28th, and 29th of December, 1871, I
gave three lectures on ''Pronunciation in Singing"
at the request of Mr. John Curwen, the president,
before the Tonic Sol-fa College at its Christmas
gathering. Part of the matter of these lectures
was subsequently worked up by Mr. Curwen, and
corrected by myself, for the last edition of his
"Standard Course," and is again explained and
illustrated with diagrams in his " Teacher's
Manual." To this last work he asked me to con-
tribute Tables of the Pronunciation of the German.
Italian, and French languages, to enable any
Tonic Sol-faist on taking up a song in those
languages to have some clue to the sounds he had
to utter, even if he were ignorant of the language
After these were completed, however, Mr. Curwen
felt that it would be advisable to add a few songs
in each language with the pronunciation fully
explained and the translation annexed. But when
this was done, he found that the result would' be
too much for a mere insertion into another work,
and ought to appear as a separate treatise I then
suggested that such a treatise should contain a
very full account of English pronunciation, and
the mode in which both the acknowledged and
the unacknowledged sounds of speech are pro-
duced, to enable the teacher not only to shew
what was right, but to correct what was wrong,
by instantly pointing out the vicious action of the
speaker, and thus leading him to set it right. The
only condition Mr. Curwen made in agreeing to

this suggestion was that there should be an
abundance of examples Hence arose the present
work

For more than thirty years I have been paying
attention to the subject of speech-sounds, as a
science and as an art, for the purpose of teaching
to read English, and for the purposes of compara-
tive philology. I have resided three years in
Germany, a year and a half in Italy, and more
than six months in France 1 have been quite
recently studying provincial pronunciation through-
out England, for the purposes of my treatise " On
Early English Pronunciation, with especial refer-
ence to Shakspere and Chaucer," of which these
studies will form the fifth volume, and in pursuing
them I have had to pay most particular attention
to the varieties of English speech, and discriminate
between the comparatively modern, literary, or
"received" form, which prevails among educated
speakers especially in the South of England, and
the comparatively ancient, illiterate and " provin-
cial " forms which prevail among the uneducated
or untravelled in other parts of the country. I am
not a singer, although I have had sufficient voice
to try all the necessary experiments, and in the
winter of 1856-7, I went through a course of Tonic
Sol-fa instruction to make myself familiar with
this scheme of teaching vocal music. But my
principal assistance in understanding the relations
of singing to speech, has been derived from
Professor Helmholtz's great work " On the Sensa-

PREFACE.

tions of Tone," of which a translation by myself
was published by Messrs. Longman, in July, 1875.
I have also, of course, studied all the principal works
relating to speech-sounds in various languages,
have had especial instruction from natives of
various countries, and have made practical obser-
vations in great detail and with great care on
English provincial speakers, and have been familiar
for more years than I care to remember with the
process of representing spoken sounds by symbols
which should express not merely the separate ele-
ments but the different modes in which they are
put together by different speakers. These are my
qualifications for attempting to carry out Mr.
Curwen's wishes.

The object of this book is to shew the course of
training which a singer should undergo in order to
enunciate his words clearly and accurately, so as to
be intelligible to an audience that had no " book of
the words " Throughout the work, the singer, as
distinct from the speaker, has been kept in view,
and for this purpose attention has been drawn in
the opening Section to the principal points which
distinguish singing from speaking. All the exer-
cises are supposed to be sung. At the same time,
the work will be of great use, I hope, to all who
have to train children to speak English correctly,
or to acquire a correct pronunciation of German,
Italian, and French But as the book was not
written for speakers especially, much has been
omitted which would be more or less useful to
them, and much has been inserted, which a speaker,
who is not a singer, may find unnecessary. Atten-
tion is also paid exclusively to the received
pronunciation of the English, German, Italian,
and French languages. Such varieties as it
would interest a singer to know are mentioned
incidentally, but the whole subject of comparative
phonology as bearing on comparative philology,
has been most carefully avoided. Students of
this important linguistic inquiry will, however,
necessarily find much assistance in tiie following
pages.

The following pages are, of course, not meant

for young beginners. They are written for those
advanced students who have sufficient determina-
tion to instruct themselves, and who wish to
understand the subject in order to instruct others.
There is not a passage in this book which ought
not to "be familiar to a teacher of singing, although
very little of what follows has hitherto found its
way into manuals for the singer, and that little is
seldom accurate. But, of course, there is much
concerning the voice and its management, which
does not enter into the purpose of a treatise
strictly limited to pronunciation. Hence the
following pages are really supplementary to all
treatises on singing, while they are introductory
to all treatises on English elocution and on the
pronunciation of the foreign languages named,
and also to all treatises on comparative philology.
The principal new point which is here treated at
length is the action of vowel on vowel, and con-
sonant on vowel, to which I gave the name of
" glide " in a tract on " English Phonetics,"
published in 1854, long before Mr. Melville Bell
used the term in his "Visible Speech" (1867),
with a slightly different sense. On these glides
depends all intelligibility in singing, because they
determine the principal audible effect of consonants,
more especially final consonants. Hence I have
prepared an elaborate series of exercises upon them
in the "Glossic Index" (pp. 151-181).

A systematic method of representing speech-
sounds is indispensable for any work like the
present. My "Glossic" effects this object by
means of the ordinary letters of the alphabet in
their most usual English significations, so far as
these would serve, eked out by German usages
occasionally, and sometimes by other contrivances.
This mode of spelling is so simple for ordinary
English readers that I have never found one who
experienced the least difficulty in reading off
sentences thus written, even without special in-
struction. Glossic has also been used by Mr.
Curwen in the "Standard Course" and "Teacher's
Manual," and hence will be familiar to the majority
of advanced students who take up this book. As

XII

PREFACK*

Glossic was specially invented by me for the
purpose of writing all English dialects by one
alphabet, every sound which was required for this
treatise had already been properly symbolised, and
hence there was no object in introducing any
other set of signs.

The arrangement of the work is as follows :
After drawing attention (in Section I., pp. 1-6) to
the contrast between speaking and singing, and
sketching a number of exercises to impress these
differences strongly in the reader's mind, provided
he carry them out (which, once for all, I may state,
I suppose that all readers who wish to derive profit
from the work will do with all exercises), I proceed
(in Section II., pp. 7-11) to consider the cause of
those difficulties as respects the vowels, and shew
that this is to be sought in their peculiar nature as
modifications of original qualities of tone. Then,
previous to a detailed exposition, I give (in Section
III., pp. 12-17) a short key to the method of
notation employed, and a systematic arrangement
of all the Signs used, together with diagrams of
the positions of the mouth subsequently referred
to. The Glossic Index (in Section XII., pp. 151-
181) gives the exact page and column where the
mode of producing the sound represented by each
individual sign can be found, in proper connection
with its related sounds. After this (in Section IV.,
pp. 18-23) a brief account is furnished of the
nature and action of the organs by which speech-
sounds are produced, limited to what is necessary
for properly understanding and observing the
following explanations. Section V. (pp. 24-41) is
devoted to the Vowels, and Section VI. (pp. 42-55)
to the mode in which vowels are combined into
diphthongs, by the generation of the vowel glides,
which are so important to singers. Section VII.
(pp. 56-60 takes into account a series of actions
of the glottis in commencing or attacking and
ending or releasing vowel sounds, which were first
named " glottids " in my " Early English Pro-
nunciation," (p. 1129) under which heading it is
here convenient to include aspirates and the
bellows-actions of the lungs or " physems "

ffei'semzj, though the latter would be separated in
a more exact classification. These lead on to the
Consonants proper, which occupy the whole of
Section VIII. (pp. 61-86 , and should be studied
completely even by those who do not immediately
desire to learn German, Italian, or French, be-
cause the introduction of the consonants peculiar
to these languages gives a far more complete A-iew
of the relations of speech-sounds than would be
possible if attention were confined to one language
only, and when studied thus in proper connection,
the sounds, which singers are sure to require some
day, are by no means so difficult as when they
are taken afterwards as strange and isolated
phenomena. The glides between vowels and con-
sonants, which form the subject of Section IX.
(pp. 87-102) are of extreme importance to singers,
and hence great pains have been bestowed on
furnishing examples, especially in the Glossic
Index (pp. 151-181 1 to enable the reader to become
thoroughly familiar with the phenomena, and thus
learn to sing the effects of consonants which are
themselves unsingable. In Section X. (pp. 103-108j
for the sake of readers rather than singers, but
also especially for the use of those who set words
to music (which should include all singers) a ver y
brief account is given, of the principal means
adopted for making one syllable in a word, or one
word in a sentence, more prominent than all the
rest. For speakers this would develop into a
treatise on elocution, for singers (except in recit-
ative) the composer has practically determined the
length, pitch, and force, and often the quality of
tone and expression to be given to each syllable,
and what remains belongs rather to a treatise on
voice-training than one on speech- sounds. But it
is useful even to a singer to know in what the
actions consist, how they are performed, and how
they may be written. It is, in fact, indispensable
for anyone who wishes to sing as a human being,
and not as a machine.

In all the preceding Sections, the exercises and
examples given as each matter arises, are sufficient
to illustrate the subject, but not sufficient to render

F REPACK.

Xlll

it familiar to a student who has to be trained.
This is left to Sections XI. (pp. 109-150) and XII.
(pp. 151-181) where a sufficient series of exercises
is suggested, or written, to enable a teacher to
instruct a solitary pupil or a class, without
puzzling the learner by a systematic treatise.
These exercises are divided into four principal
parts, according to the four languages considered,
but for the three foreign languages they are of
comparatively limited extent, sufficient, however,
for anyone who had gone well through the English,
to acquire a decent command over the foreign
sounds. It is strongly recommended that the
learner should, if possible, get a native with a
good pronunciation to read to him the foreign
words placed against each foreign Glossic letter
(which is for that purpose given in the ordinary
as well as the Glossic spelling), and to repeat each
set, illustrating a single sound, many times over
Practically I find six times in succession advisable.
The learner should listen without imitating till he
has formed a complete notion of the sound, which .
he should then attempt to reproduce, and not mind
failure with respect to the other sounds with which
the one under trial is unavoidably mixed up. The
words thus serve as "Key Words," which with the
Glossic spelling annexed, perfectly explain the
system of writing used in giving the pronunciation
of the songs in Section XV. (pp. 212-241).

The great, bulk of the exercises is devoted to
English, with the intention of creating good habits
and facility, and of correcting errors of pronun-
ciation. The use of the Glossic system of writing
has enabled me to divide these exercises into two
very distinct parts. The first twenty Exercises
(pp. 109-127) consist of combinations of vowels
and consonants independently of meaning, so that
the whole attention of the singer is directed to
the accurate production of sound. They are
arranged so as to include all the combinations in
our language, to be sung at definite but very
various degrees of rapidity, and particular atten
tion is paid to bringing out the glides, ana thus
distinguishing final consonants. A simpl.:- .vtvn't.

with lists of all the initial and final consonants
and combinations of consonants in our language,
here given, will enable the teacher i^as explained in
the 21st to the 23rd Exercise, pp. 127-8) to ex-
temporise an infinite variety of ways of practice,
without using a book at all. It is suggested that
five minutes daily should be devoted in schools to
these "Vocal Gymnastics" to make the delicate
muscles of the organs of speech familiar with the
production of the sounds, and thus enable the
pupils to pronounce with brightness, ease, and
certainty.

Exercises 24 to 42 (pp. 128-138) are devoted to
actual words, contrasting nearly similar sounds,
especially vowel sounds, which are apt to be con-
fused, together with the various diphthongs and
the extremely complicated use of the letter R, each
word being given in both spellings. Some of these
Exercises having been prepared some years ago,
were given, but with a different arrangement, by
Mr. Curwen in his " Standard Course." The 42nd
Exercise (p. 1384) properly consists of the English
part of the Glossic Index ipp. 151-181) in which
words are given fully illustrating every vowel and
diphthong as acted on by every final combination
of consonants known in the language, and by a
great number of the initial combinations, while
every consonant is illustrated by words in which
it occurs initially before every vowel and other
consonant with which it is found in the language.
These lists give the learner an opportunity of
feeling and practising the initial and final effect of
every possible consonantal combination upon every
possible vowel sound, and thus learning to sing
initial and final consonants intelligibly.

All the preceding Exercises are upon " strong "
syllables, or those which bear the stress. But the
three next Exercises (43-46, pp. 1384-1424) deal
with " weak" or " unaccented " syllables, whether
final or initial, and Exercise 47 (p 1424), which is
intended rather for the speaker than the singer,
deals with those alternations of "strong" and
" weak " syllables which occur in our longer
words

XIV

PRBFACE.

By these Exercises, which are far more extensive
and systematic than any yet attempted (although
I wish particulary to draw attention to those given
by Mr. Melville Bell in his " Principles of Speech
and Elocution," to which I am much indebted),
it is to be hoped that the learner will be able to
gain a mastery over the production of the sounds
of his own language, and a decent command' over
those of German (p. 144). Italian (p. 147), and
French (p. 149). But they will not teach him
when to use them. The spelling of a word is
supposed to do this, and in German and Italian it
is tolerably successful in so doing, although in
English and French it fails wofully. Hence in
Section XIII. (pp. 182-189 I give an account of
the systems of indicating sounds in the best or
most convenient English pronouncing dictionaries,
writing their key words both in their own spelling
and in Glossic. This will enable all those who
have studied this little book to consult those
authorities in case of need. And in Section XIV.
(pp. 190-211 I have given Alphabetical Keys to
German, Italian (including Ecclesiastical Latin v ,
and French, which will enable the reader who sees
a written word in any of those languages, to
discover its sound within very small limits of
error. But even for these languages, reference to
a dictionary is often indispensable as no rules can
be laid down which are sufficiently c.omprehensive,
the exceptions are so numerous and irregular.

After this, in Section XV. (pp. 212-241) follow
German, Italian ^including Ecclesiastical Latin),
and French songs, selected by Mr. Curwen, and
given in both the ordinary and Glossic orthography,
with a verbal English translation, spelled in Glossic

only, by way of an exercise, arranged in a con-
venient form for reference and practice. Those
who have an opportunity should not fail to hear
these songs read over to them by natives, and to
practice reading them themselves till the natives
are satisfied with their pronunciation, and then to
commit them to memory, and continually repeat
them, with or without the music, to acquire
facility and certainty in the utterance of connected
words. All pronunciation is muscular, and the
organs of speech require the same constant train-
ing as the muscles of the hand for playing on any
musical instrument.

The book concludes with a list of German,
Italian, and French composers (pp. 242-246),
selected by Mr. Curwen, with the native pro-
nunciation added, and likewise a conventional
pronunciation, harmonising with that now given to
Handel, Haydn, Mozart, and Beethoven, which is
thoroughly adapted to English analogies, habits,
and organs.

In the summer of the same year, 1875, in which
the Tonic Sol-fa College, after a successful period
of probation, was finally incorporated, this little
book was put together as the author's contribution
towards the good cause of diffusing sound musical
knowledge among the masses of the people, in-
cluding the youngest, for which that College was
originally founded by its first president, Mr. John
Curwen.

ALEXANDER J. ELLIS.

25, ARGYLL ROAD, LONDON, W.
MS finished 29 November 1875 /
Printing finished 11 August 1877.

PRONUNCIATION FOR SINGERS.

I. SPEAKING AND SINGING CONTRASTED.

Singers and Speakers. Speaking and singing
are different and in some respect antagonistic
actions of the same organs. Quintilian relates
that Julius Caesar, when a young man, criticised a
reader in the words : "If you intend to be singing,
you are singing hadly; if you suppose yourself
to be reading, you are really singing ' (Si cantds,
male cantds ; si legis, cantds. Quint. Inst 1, 8, 2).
The criticism is perfectly valid to this day. But
the singer uses words to which he intends his
listeners to attach a meaning, and it is supposed
that the music will enhance the mental effect of
the words, which, in many cases at least, have
suggested the melody and whole composition.
While, therefore, it is perfectly well agreed that
no speaker or reader should sing, it becomes a
necessity for all singers, if not to speak, at least
to excite in their hearers the ideas attached to
speaking, in addition to the emotions due to music.
How is this end to be attained ? The reader must
first recognise the reality of this antagonism
between speaking and singing.

(1). Singing and Speaking Differ in Compass.
In singing, a good and fine musical quality of
tone is sought to be attained at pitches varying by
at least a Twelfth (d to s 1 ), and sometimes two
Octaves, or even more. In speaking, an audible
quality of tone is desired, but one which is not
strictly musical, at pitches generally within a Fifth

(d to s), and only occasionally extending to an
Octave. This great difference of compass is very
important, because the singer is called upon to
execute spoken sounds at pitches which, as a
speaker, he has never been accustomed to use, and
with a quality of voice which he has had carefully
to avoid.

(2). Singing is at Sustained, Speaking at Glid-
ing Pitch. In singing, a tone has to be sustained
for a considerable time at an invariable pitch. In
speaking, not only is the length of time for which
any sound is sustained much less, sometimes
necessarily very short indeed, but the pitch at
which it is delivered is uncertain and variable, and
constantly rising or falling, sometimes first rising
and then falling, or first falling and then rising,
for the same spoken sound. This is such a remark-
able difference between singing and speaking, that
many writers consider it to be the characteristic
difference, which may be expressed thus: "Singing
has sustained pitch altering by definite intervals,
speaking has variable pitch, altering constantly by
insensible intervals or glides." But although an
important difference, it is by no means the only
one to be considered. Nor is it quite decisive, for
in singing the gliding alteration of pitch is
acknowledged under the term 'portamento' fpoar'-
taamai'ntoa. See Sec. Ill, for notation of sound.)

SPEAKING AND SINGING CONTRASTED.

Sec. I.

(3). Singing requires a Clear, Speaking an Im-
pi led Passage for the Breath. In singing, a good
quality of musical tone can only be attained by
peculiar adjustments of the cavities between the
larynx and the lips, which generally imply that
they are unchoked or unimpeded, and by a peculiar
arrangement of the larynx itself which implies, on
the contrary, that it is so choked and impeded that
the wind has to force its way through it from the
lungs. In speaking, the upper cavities have to be
choked and impeded in many ways more or less
injurious to musical qualities of tone, and some-
times entirely destructive of any musical tone
whatever, allowing mere noise to pass, or actually
preventing any sound at all from passing. And
the larynx has occasionally to be so open that
no musical sound whatever can be produced, except
by a further adjustment of the lips and tongue to
produce whistling, an effect not admitted in
speech. The windrushes, hisses, buzzes, whispers,
and silences thus produced (forming our con-
sonants) , although some of the most important and
distinctive elements of speech, are entirely un-
musical and cannot be sung at all. The difficulty
of indicating them is one of the greatest trials to
the singer, because their omission occasions total
unintelligibility, and their introduction interrupts
the flow of music. But even those spoken sounds
which are most musical in their character ' v the
vowels ^ are not equally capable of yielding good
qualities of tone on account of the necessity they
imply of more or less choking the passage of the
sound through the mouth or lips, and the singer
has to exercise himself in producing sounds
recognisable as intended for certain vowels, which
are nevertheless modifications of them found to be
more suitable for musical utterance. All languages
present these difficulties, but perhaps none more
than English.

(4). Singing has to be Rapid and Slurred,
where Speaking cannot be so. In singing, the
melody often requires the notes to be sung with
great rapidity, and at other times to be slurred

into each other. In any languages, as the
English, where the vowels are separated by
numerous consonants, this rapidity is impossible,
and the slurring becomes equally impossible from
the necessity of separating the musical by unmusi-
cal sounds. Who could sing : " The strongest
priest stands still," with either great rapidity or
great smoothness, except by making many of the
consonants inaudible ? It is, of course, the
business of writers of words to music to avoid
such difficulties of combination in spoken sounds,
and it is the business of composers of music to
adjust their notes to the capabilities of the words.
But neither writers nor composers observe their
duties, and when the words of a song are translated
from one language to another, or the same melody
is sung to different words (as in successive verses
of a ballad, or hymn) this consideration is entirely
overlooked.

Vowels must be Arranged in Genera or Kinds.
It is necessary that the reader should render
himself practically familiar with these differences.
Take the two sentences :

Peep through all those glass door panes.

His bull rush'd on that fence.
The first contains all the seven long vowels, and
the second all the six short vowels in our language,
without any repetitions. Speak them with various
expressions, first as a simple conversational com-
mand and affirmation ; then in tones of stern
command, exclamation, interrogation, disgust, fear,
horror, indignation, expostulation, ridicule, banter,
laughter, weeping, pain, joy, satisfaction, oratory,
solemnity ; with the utmost slowness, with the
greatest possible rapidity, and so on. Observe in
each case that there is not even an approach to a
musical tone or to singing, and that any sing-song
in the utterance would be provincial, such as the
whines and drants and rising inflections of many
of our provinces. Observe, too, that the natural
character of speech and the sound ot the vowels is
much altered by some of these expressions ; that
the oratorical and solemn tones really alter all the

Sec. I.

SPEAKING AND SINGING CONTRAST ED.

sounds in comparison with the conversational or
ridiculous and comic tone, although the vowels re-
main recognisable, so that though appreciably
different to those who compare and examine them,
they are appreciably the same to those who,
accustomed to hear them under all these circum-
stances, have fused the particular perceptions into
a general conception which partakes of all the
characters without being confined to any one.
This means that even with the same speaker each
vo\vel represents only a group of specifically
different sounds, which are grasped by the hearer
as a genus; just as we think of a dog, without
distinguishing a French poodle from a mastiff, or
a pug from a greyhound ; we are, so to speak
satisfied to know that a dog is not a cat ; though
both dogs and cats are quadrupeds. Extend the
obser vation from the same speaker to different
speakers ; let a deep and thin voiced man and
woman and child repeat the same sentences in
different manners, imitating the expression each of
each, and observe the new differences which arise.
We seem to get beyond dogs and cats, into mere
quadrupeds. This observation on the specific
differences, and generic or family sameness, of
vowel sounds recognised in the same language to
be identical, is of the utmost importance, both to
the singer and the learner of languages. The
singer learns from it that he may alter his vowel
sounds (which are those on which he sings, and
which most materially influence the quality of his
tones) within certain limits, to suit the requisitions

of his voice or of the unusual pitches at which he
has to deliver them, without becoming unintellig-
ible, and without ceasing to utter them as an
Englishman. The learner of foreign languages
becomes aware of the necessity of hearing the new
sounds from numerous speakers, and not from one
teacher only, and of hearing them un ler the most
varied circumstances of expression, before he can
at all grasp the unity of genus amid variety of
species. Indeed, on extending his observations to
foreign languages, the student will find that all
the variety of expressions alluded to vary from
language to language ; that not only the genera or
kinds of vowel vary, but that the mode of forming
the species varies, and that on these two circum-
stances depends in great measure (by no means
alone, the characteristic national habits of speech.
Hence the necessity of continual intercourse foi
some considerable length of time with various
speakers of a language which we wish to acquire.

The Relations of Vowels to Pitch. To return
to the Exercise. Having first spoken the two
sentences of English vowels, sing them to a
very easy chant, as the Tuning Exwcise 85 in
" Standard Course," p. 27, given below. Each
part should be taken separately, and should be
sung at various pitches of one voice only, as high
and as low as the singer can reach, as well as in
the middle and easy pitches with which he should
begin. Divide the words thus

P JJ

F?5 ~j~p H

1 1

-Z5

CJ H d

r r

r r ~

Peep through all those ) _,__ doo _
glass door panes, . ) glass aoor
His bull rush'd on that fence, on that

II : E H ' >

Peep through all those ) n th , H
panes. glasg door paneg; j all

fence. His hull rush'd on that fence, bull rush'd on that

panes,
fence.

Two important observations have to be made on
this Exercise. First, that the effect of speaking
and chanting is entirely different. This should be

further brought out by first chanting and then
speaking the passage at about the same pitch. It
may also be enhanced in a class by directing

SPEAKING AND SINGING CONTRASTED

Sec. I.

them to speak altogether at the same rate as they
chanted, but these Exercises are much better done,
at least at first, by single members of a class,
while the others listen, because the combination of
different voices of different qualities confuses the
observer, and when he is himself a performer he
does not hear the rest sufficiently well. The
second observation (which will be dwelled on more
at length presently), is that the different vowel
sounds cannot be equally well produced at different
pitches, and that the short vowels when prolonged,
although in that case nearly the same as the
corresponding long vowels (compare peep his, panes
fence, glass that, all on, panes fence ; the long vowels
in those, door, and the short vowel in rush'd, have
no correspondence), are yet so different that (with
the exception of that) they are much more easily
sung at different, especially at the extreme pitches,
than the naturally long vowels. This may' be
verified by singing the long vowel sentence with
the short vowels lengthened, and the short vowel
sentence with the long vowels substituted for the
short vowels lengthened, as indicated by writing

peep through all those glass door panes
his bull rush'd on thai fence

meaning, sing peep with the i in his, that is, as
pip lengthened ; and sing his lengthened, with the
ee in peep, that is, as hees, rhyming to fleece ; and
so on.

Other observations may be readily made, especially
as to the effect of the separation of peep and through
by the complete cutting off of the note at the
c^id of peep, and at the commencement of through,
first by a completely unmusical hiss, and next by a
beating r. By hurrying and slackening the time
these effects of interruptions can be more clearly
Brought out. Again the effect of the monotone on
the reciting tone, to which all the words have been
purposely assigned in each case, should be noted,

and its extreme difference from the constantly
though slightly changing pitch of ordinary speech.

Effect of Pitch on the word ' Peep.' The effect
of singing-pitch on vowel-quality must now be
studied. First sing the word peep on the scale
from the highest note in the voice, taken as d',
down to the lowest, whatever it may be. Form a
crescendo and diminuendo on each note, and sustain
the voice on each as long as can be conveniently
done, taking a fresh breath for each. Observe that
on the very highest note the vowel is quite clear,
though it generally improves slightly when the
voice is not near its extremity. (On tfee change of
register there will be a difficulty felt immediately
in producing the vowel with the same distinctness
as before. The vowel will assume a somewhat
different character whenever this change takes
place, and whatever the vowel may be ; at present,
however, the observation of the effect of change of
register may be merged into the effect of change
of pitch.) About the middle part of the compass,
the vowel, if kept quite clear and not allowed to
degenerate into i of pip lengthened, becomes
slightly but manifestly clouded, and there is a
tendency almost to a beating roughness in the note.
But as the voice sinks still lower, and even more
when it reaches its lowest tones, this beating
character becomes more prominent, producing
some gruffness. If another singer of a similar
quality of voice (it will not be right to contrast
even bass and tenor) takes the Octave above the
note then reached, a manifest difference between
the vowel qualities will appear. When another
singer cannot be had, the same singer should take
his note an Octave higher with a sudden jump and
observe the difference. As a second trial, when
the singer has reached a rough and gruff sound in
attempting to keep peep with its proper vowel
sound, let him change it suddenly to the i in pip
lengthened, by imagining that he is singing pip on
a very long note. He will find the whole quality
of tone most materially improved ; the beating
gruffness will have been nearly removed : the

Sec. I.

SPEAKING AND SINGING CONTRASTED.

whole musical instrument will have been changed
for the better. Having reached this lowest tone
on peep altered to pip prolonged, let the singer
ascend the scale with this sound instead of peep.
He will find that up to about the middle tones in
his compass, the effect of pip prolonged is rather
better and rounder than that of peep, but that as
the voice proceeds higher it is decidedly duller,
and in the high tones is considerably wanting in
brightness. This effect will be made more evident
by changing on each note and in the same breath
from, peep to pap prolonged and conversely. These
exercises and observations should be conducted
with great care because they are fundamental.

Effect of Pitch on the word Through.' Next
sing the word through, beginning at the lowest note
in the voice, calling it d,, and ascending the scale
regularly to the highest. Observe first that
though the tone may not be very good on the
lowest tone of the voice, it is very much better
than for peep or even pip prolonged. Contrast the
three by singing peep through, pip through, each
pair in one breath, at the lowest note. After quite
the lowest note, the tone becomes better, but it
rapidly thickens, so that through approaches in
sound to throw, and much effort is required to keep
the words tolerably distinct. But when we get
towards the top of the voice it becomes extremely
difficult to get out any real sound of through at all.
Also observe how much the quality of tone
deteriorates as you ascend the scale. It goes off
into a flutiness altogether unlike the best qualities
of the human song-tones, and approaches to a
pan dean pipe. Here again by taking peep through
in one breath we perceive the great difference in
the quality of the tone. Now take the two words
pool pull, which contain the same sounds as
through bull, but are more convenient for the next
experiment because they nave the same consonants.
First sing pool from the lowest note to at least an
Octave or a Twelfth higher (from d, to d or s), and
having reached this higher pitch, change the word
from pool to pull prolonged, by an effort of atten-

tion which after a little while the muscles of the
throat will obey (the nature ' of the change is
purposely left unconsidered for the present). It
will be immediately found that the quality of the
upper note is materially improved, that the fluti-
ness disappears, and much more fulness results.
Having then reached putt prolonged, descend the
scale upon it. It will be found that all the upper
notes are improved in quality, and that the lower
and even lowest notes are not much injured,
although a slight gruffness begins towards the
end. Complete the experiment by singing pool
pull in one breath to every note in the voice, up
and down.

When 'Peep' and 'Pool' should be 'Pip' and
' Pull ' Prolonged. The experiments just made
lead to a very important practical result, namely,
that peep should be taken as pip prolonged in the
lower parts of the scale, and pool as putt prolonged
in the upper parts of the scale. Words containing
these vowels are the greatest plagues to a singer,
and he will find himself relieved of much difficulty
by this simple observation.

Effect of Pitch on the word ' Glass.' These
experiments must be continued further. Sing
glass (taking care to make it rhyme with farce with
an unpronounced r, and not with gas, two sounds
which may be distinguished as glaas and glas
respectively) to a middle note in the compass, and
run up and down as before. Observe that a good
tone can be brought out for glaas at nearly every
point of the scale, although the quality of the
vowel slightly alters. Change the sound to glas
(having a in that prolonged), and observe that at
every pitch the musical quality of sound is
decidedly deteriorated. But it is so disagreeably
provincial to interchange these sounds, that the
faulty musical quality will cause less annoyance
than the faulty vowel quality. A way out of the
difficulty will be afterwards indicated.

Effect of Pitch on Peep through glass.' Take
the three words peep through glass, and sing the
scale up and down, giving all three words in one

SPEAKING Ai\D SINGING CONTRASTED.

Sec. I.

breath to each note and observe the great difference
of effect, as already pointed out, and now still
more clearly shewn by contrast. And then take
the following or any other simple air, and sing it
in succession to each of the three words, at all
pitches which the voice can reach.

, OS >> - i ^

through, through, through, through, through,
glass, glass, glass, glass, glass,

peep,

peep, peep, peep, peep, K**' ,

through, through, through, through, through,
glass, glass, glass, glass, glass,

^ * - m \ i

through, through, through, through, through,
glass, glass, glass, glass, glass,

peep, peep, peep, peep,
through, through, through, through,
glass, glass. glass, glass.

Observe that the effect of altering the vowel is
similar to that of altering the instrument, that
peep gives a very, reedy sound in the lower tones
and a whistling sound in the upper tones, that
through gives a fluty sound, especially in the upper
tones, and that glass gives by far the best and
fullest and pleasantest musical quality of tone.

Effect of Pitch on ' All on, Those, Door, Rush'd,
Panes, Fence.' In order to complete these Exer-
cises, begin by taking all on, or rather awn on,
in order to preserve the same consonants, and,
treating these words in the same way as the
others, observe that they both yield a good tone at
nearly all pitches, but not so fine as door, which is

the best of these vowels, for those approaches,
rather too closely to through. Rush'd prolonged,
though never a- bright clear ringing sound, is yet
tolerably uniform in quality at all pitches.
Finally, compare -panes and fence with that, or
rather, to keep the same consonants, compare pane,
pen, and pan at all parts of the scale in the way
pointed out for other vowels. It will be found
that pane has a harsh effect at all parts of tb
compass of the voice, and that great improvement
is due to changing it into pen prolonged, but that
the change to pan is rather for the worse. Tho
near resemblance of the two sounds pane and pen
prolonged, will therefore enable the singer to avoid
much harshness by using the latter for the former.

Results of the Preceding Examination. By

these Exercises the singer will have gradually
learned for himself the antagonism of speech and
song even for the most singable of speech sounds,
the vowels, and he will also not have failed to
observe the extremely unvocal and sometimes
unpleasant action of the consonants, which in such
a word as glaas mars the effect considerably, as
shewn by leaving off one or the other or both of
the extreme consonants as glaas, laas, glaa, laa, of
which the last is by far the best sound known for
trying the effect of music independently of words.
But it is not enough for the singer, to know these
results as facts. He requires to know on what
natural relations they depend. And he also
requires to know what are the precise speech
sounds with which he has to deal, why he may
take liberties with some and not with others, and
how he can render those awkward interruptions of
voice, the consonants, sufficiently audible without
being disagreeably conspicuous, and this not only
for his own language, but for those foreign tongues
in which he may be called upon to sing, of which
German, Italian, and French are the principal,
and will therefore be carefully considered in the
following pages.

II. VOWEL QUALITY OF TONE.

Musical Qualities of Tone first Explained by
Professor Helmholtz. We are indebted to the
researches of Professor Helmholtz* for our whole
knowledge of the real nature of musical qualities
of tone. The following is a very brief statement
of some of the principal results of his researches
so far as they bear upon speaking and singing.

Simple Vibration. "Watch a pendulum, which is
easily made by a piece of thread and a weight, as
a key. Observe that the motion gradually dim-
inishes till the weight reaches its highest point, at
which moment the upward motion ceases, and the
downward motion begins, but so instantaneously
that no pause is perceptible, and no jerk takes
place in the recommencement of motion. On
careful examination, this quiet, uniform, steady,
unjerked motion proceeds, till the motion ceases
altogether. It has been usual in a pendulum to
count the swings in each direction separately, and
they are so counted by a clock. But the swing
and its return or swang, forming a swing-swang,
will, for present purposes, be considered as a single
vibration. Thus a seconds pendulum makes 30
vibrations in a minute, each vibration consisting of

* See his work " On the Sensations of Tone, as a
Physiological Basis for the Theory of Music." Translated
by the present writer. Pp. 800, exclusive of Index, Preface.
&c. Published by Longman & Co., in 1875. Price 36s.

a swing lasting a second, and a swang lasting
another second. A vibration of this particular
kind, following the precise mathematical law of a
pendulum, is called a simple vibration.

Compound Vibration. All kinds of vibration
consist of backwards and forwards motion taking
place at regular intervals of time, called periods,
so that the moving body is always at the same place
at the end of a period. But all vibrations are not
simple. For instance, a weaver's shuttle is thrown
regularly across the loom, but its motion is
suddenly arrested at the end, where it remains an
appreciable time and then returns. In this case,
however, the swings and swangs are of the same
kind, though in different directions. But when
an enormous hammer is slowly raised by a machine,
and then the head allowed to fall suddenly by its
own weight, the swing, or slow motion of the head
of the hammer up, is very different from the swang,
or rapid motion of the hammer down. Similarly
if in driving in a pile, a weight is pulled up by
several men tugging at a rope passing over a pulley
and then let fall, the swing and swang of the
vibration are very different. Such vibrations are
called compound, because although actually as
single as simple vibrations, mathematicians have
discovered that the laws of compound vibrations
may be deduced from the laws of several simple

VOWEL QUALITY OF TONE.

Sec. II.

vibrations. This is a matter which must here be
taken for granted without further explanation.

Simple and Compound Sounds. Now sound is a
sensation due to the motion of air communicated
through the drum-skin of the ear, and a compli-
cated internal apparatus, to the extremities of the
nerves of hearing, which, in part, may be com-
pared to a microscopic pianoforte with about 16400
strings tuned to different pitches.* The sensation
of a musical tone is experienced only when the
particles of air make very small periodic vibrations.
When those vibrations are simple, the sounds heard
are called simple ; when they are compound, the
sounds heard are also termed compound, and the
internal apparatus of the ear, especially its micro-
scopic pianoforte, enables the mind to separate the
compound sound into a number of simple sounds,
exactly corresponding to the exceedingly difficult
and complex mathematical separation of the com-
pound vibration of the air into simple vibrations.
This analysis by the ear amounts to saying that
when any musical sound is made by an instrument
or the human voice, the ear experiences the same
effect as if a certain series of simple tones having
definite musical pitches, and very different degrees
of loudness were sounded together. Of course,
no such tones are really sounded, but as the
mental effect is the same as if they were, it
becomes convenient to speak of the compound
musical tone as consisting of a series of simple
partial tones, and to reason upon these partial
tones as if they alone existed, instead of the com-
pound tone itself.

Experiments on .Resonance. Resonance Cham-
bers. Vibrational Number and Pitch. Before
proceeding further, try the following experiments,
which are very important for singers. Strike a
common tuning-fork, and hold it in the air ; its

* According to the latest researches of Hensen. See
Professor Preyer's pamphlet Ueber die Grenzen der
Tonwahrnehmung (On the Limits of the Perception of
Musical Tone), Jena, 1876, p. 41.

sound will scarcely be heard. But hold it with the
flat of one prong or the edges of both prongs over
the mouths of different tumblers, or wide-necked
bottles (pickle or prune or preserve bottles or jars)
and a certain amount of reinforcement of the tone
will be heard. A wide -mouthed bottle about six
inches high will reinforce the C 1 of ordinary
tuning-forks very fairly. Now try the effect of.
pouring a little water into the bottom of the bottle
and observe if the reinforcement is greater or less.
If the reinforcement is greater, continue to pour
more water till the reinforcement reaches its
greatest effect and then lessens, and keep in only
so much of the water as gives the greatest effect.
If pouring water into the empty bottle makes the
reinforcement of the tone of the tuning-fork less
than before, empty the bottle, and with a piece of
tin, wood, glass, or pasteboard (the cover of a book
answers very well) forming a hard, flat cover,
gradually diminish the opening of the mouth of
the glass. The reinforcement will certainly in-
crease up to a certain degree of covering, and then
again diminish. Retain the amount of covering
giving the greatest reinforcement. At least an
octave of difference can be produced in this way,
so that forks of very different pitches can be
reinforced by the same bottle differently loaded
with water at the bottom of covered at the top.
The effect of water at the bottom and an open
mouth is generally far superior to that of a covered
mouth. After the best reinforcement is thus
obtained, try the effect of partially obstructing the
interior of the bottle by pieces of paper, wood, &c.,
which do not alter the height of the water ; these
may be suspended from a thin stick laid over the
mouth of the bottle, so as not to reach as far as the
water. In every case the effect will be found to
impair the beauty of the tone produced.

The reinforcement of such bottles is due to
setting the air within them into vibration by means
of the tuning-fork, and is termed resonance, and
the bottles are resonance chambers or cavities. The
tone to which such a cavity resounds best is said to

Sec. II.

VOWEL QUALITY OF TONE.

be its own tone (or one of its own tones, for most
cavities of various shapes will resound to very
different tones). The tone heard in these experi-
ments is a simple tone, due to a simple vibration of
the air. The number of vibrations which such a
tone performs in a second of time is called its
vibrational number, or sometimes simply its pitch,
because the sensation of pitch depends solely on
the vibrational number, and our perception of what
particular nervous fibre in the microscopic piano of
the internal ear already mentioned corresponds to
that number of vibrations.

The Nature of Musical Quality of Tone.
flelmholts arranged tuning-forks, kept in constant
motion by electricity, and corresponding to the
notes

d, d s d' m 1 s 1 ta 1 d 2

123456 7 8
(where ta v is a little flatter than the true musical ta)
before proper resonance cavities, with covers, which
he could partly close by finger keys to any amount
he pleased, so as to increase or diminish the degree
of the opening of the mouth of any one or more.
The vibrational numbers of these notes are in the
proportion of the figures written under them,
so that if the vibrational number of d ( were 64,
that of d would be twice 64 or 128, that of s would
be 3 times 64 or 192, that of d" 4 times 64 or 256,
that of ml 5 times 64 or 320, that of si 6 times 64
or 384, that of ta v l 7 times 64 or 448, and that of
d 2 8 times 64 or 512, the vibrational number of the
simple tone obtained from a common C 1 tuning-
fork. Helmholtz then found that by making all
the forks sound at once, but by varying their degrees
of loudness, he was able to reproduce a satisfactory
imitation of the qualities of tone of most musical
instruments and of several German vowel sounds.
And (by conducting similar experiments with
great care) he established that the quality of a com-
pound tone consists solely in the various degrees of
strength of the system of simple partial tones into
which it is resolved by the ear. The various partial

tones have always the relative pitches thus found,
and are hence called the 1st, 2nd, 3rd, &c., partials
respectively. The 1st is also called the prime, and
the others the upper partials. The prime is
generally (not always) much stronger than the
other notes, and hence being most distinctly
heard, determines the feeling of pitch. Hence the
vibrational number of a compound musical tone is
taken to be that of its prime. When the prime is
not the loudest parti'al, the ear is frequently
deceived as to the real pitch, and, as in that case
the 2nd partial or Octave ot the prime is generally
the loudest, the usual error is that of an Octave.

Quality of Tone of the Singing Voice. All

musical tones and all sung vowels have qualities of
tone depending upon the relative loudness of the
simple partial tones of the notes to which they are
sung. And this relative loudness is determined
partly by the mode in which the air is excited by a
vibrating body directly, and partly by the reson-
ance of the air in a cavity through which the
vibration of the air excited by the vibrating body
is conducted before it reaches the outer air, and
partly by other causes which need not be here con
sidered. In singing, the vibrating body consists
of the two elastic chords which form the edges of
the glottis or breathing hole in the larynx, and the
mode of action is to allow puffs of air of various
descriptions to pass periodically from the lungs
into the resonance cavities above. All sounds pro-
duced by emitting a series of successive puffs have
a very great number of partial tones. Good bass
voices have at least 20. The deep tones of the
harmonium have at least 16 very sensible partials.
The resonance chambers in speech are very
numerous and very variable in form, and there are
various constrictions and valves on the way. The
consequence is that there are numerous resonances
which reinforce very different partials, producing
most of the qualities of the human voice, includ-
ing the various vowel qualities and their varieties
due to pitch and expression.

VOWEL QUALITY OF TONE

Sec. II.

Vowel Quality of Tone due to Kesonanee. The
action of the resonance chambers in producing
vowel qualities is rather complicated, but we may
state generally that every specific vowel quality
has its own special resonance cavity adapted to
reinforce to the greatest extent various simple
tones of exactly defined pitch. Now the pitch of
the note sung by the voice at any time, (that is, of
its prime partial,) is seldom or never the same as
any one of the pitches which could be reinforced
by the resonance cavities. Some of the higher
partial tones will, however, be tolerably near to
that pitch. In making the experiments with a
tuning-fork and a resonance jar the reader will
have felt the difference of effect as the resonance
of the jars approached to or receded from the pitch
of the fork, and have found that in some cases the
tone of the fork was almost quenched by the
inability of the air in the jar to resound to it.
The same thing happens when the mouth is put
into the position corresponding to any vowel. All
the partial tones of which the pitch is tolerably
near to those which the resonance cavity is adapted
to reinforce best, will be more or less reinforced,
and the others will be either left untouched or
more or less damped. Hence every tone sung will
have its quality of tone altered by the nature of
the vowel position of the mouth, and this altera-
tion of the original quality of tone is that which
we recognise as a vowel. The different vowels in
speech differ, as if, for example, we played for peep,
a picolo flute ; for through, a deep organ flue pipe ;
for glass, any conical organ reed pipe, and so on.
Or as if for the vowels we substituted entirely
different instruments. Just as we know a
violin A from a flute A, or from a pianoforte A,
or from an oboe A, and so on (all of which
are compound musical tones having the same
pitch), by their different qualities of tone only }
so we know the vowels of speech when sung
to the same pitch, solely by their difference of
quality which we have been taught to recognise
from childhood. We thus, too, are able to under-
stand why some vowels alvays and necessarily give

a bad quality of tone, and why by a slight altera-
tion of the resonance cavities of the mouth, &c.,
we can improve the quality of tone without
rendering it so different as to be no longer recog-
nisable. We can also understand why it is that
by other changes in the position of the mouth, &c.,
we can entirely change the quality, and make it
unfitted for any musical purposes. Sing on any
pitch to the vowel in glaas, and while keeping the
voice steadily at that pitch, and purposing con-
stantly to pronounce the same vowel, more or less
close the teeth, raise or twist the tongue, close or
twist the mouth, making the aperture of very
various shapes and dimensions, or open the entrance
to the nose, leaving the mouth either shut or open.
Observe the great variety of qualities of tone, some
good, others bad, and all more or less strange,
which will thus result. This exercise is very
important for making the singer feel the meaning
of quality of tone, and the extent to which it is
under his command. He will thus gradually learn
to understand that for every musical note which
can be produced in the larynx, there is an original
quality of tone, which, however, it is impossible
for us ever to hear, because we cannot remove all
that portion of the head which lies above the
larynx, without destroying the power of the larynx
to produce any tone at all. We are, therefore,
constrained to hear only its modification by the
resonance chambers through which the vibrating
air must inevitably pass. But we can perfectly well
understand that these act just as variously shaped
organ pipes fitted to the same reed (which, unlike
the larynx, can be made to sound independently of
the pipes) . We are thus able to define that a vowel
is a modification (due to resonance in the cavities
above the larynx), of an original quality of tone
(produced by the vibrations of the vocal cords in the
larynx.}

Experiments on the Nature of Vowel Qualities
of Tone. It may be observed in passing, that all
concords, when the notes sung are in just intona-
tion, are really qualities of tone, and that the

Sec. II.

VOWEL QUALITY OF TONE.

roughness arising from discords and from tempered
music is due to the introduction of sounds not
belonging to the series of partials 1, 2, 3, &c., or
else to the beats of the partials of the tones which
are sounded together. Procure seven voices which
can sing d, d s d' m' s' d^ in perfect tune at the
same time, and then let them vary the strength
greatly, singing, for example, in succession as
marked by the letters pp, p, mf, f, ff, and for
silence, in the following scheme.

d 2

/ >PP

ff :0

P 'ff

f :pp

// :0

P ://

n 1

f -PP

: P

Jf :/

P :0

d 1

f :pp

P :/

P :0

f 'PP

PP >P

P :p

/ :0

f 'PP

PP 'P

P :pp

pp '.mf

f IPP

f wf

P IP

p imf

If voices cannot be procured, produce the tones in
these different degrees of loudness on a quartet of
viols, which, however, is not quite so good for the
purpose. The two first trials give the full effect
of the chord, but not of any usual qualities of tone
The six last give effects not at all like chords or
qualities of tone, but differing much in the same
way as vowels. As the notes used are all compound
tones, and not simple tones, the effect is not pre-
cisely the same as in vowels, but it is of the same kind.
Raise the dampers on a piano by the forte-pedal,
and sing loudly and suddenly any vowel to the pitch
of some note (a bass note is the best), directing
the voice against the sound-board or strings, which
should be exposed, at least in part, by opening the
piano.* After a little pause the vowel will be
echoed back from the piano. Damp the strings
entirely, and sing a different vowel in the same
way to the same note; after a pause, this new

The usual cottage pianos in which the " action " covers
the strings cannot be used in front. If the back silk screen
be removed, and the sounding board exposed, they act better.
But the best Instruments are flat pianos, and especially well-
tuned grand pianos, with the lids raised, so that the singer
can sing right down on to the strings.

vowel is re-echoed. The re-echoed vowels are loud
enough for a whole roomful of people to hear, and
like enough for them to recognise, but they are
not perfect, partly on account of the imperfect
tuning of the pianoforte, and partly on account fo
the sluggish action of the strings. The effect
arises from the fact that strings vibrate sympa-
thetically with the human voice, but only those
partial tones of the strings will sound sympatheti-
cally which are of the same pitch, or very nearly
so, as some of the partial tones in the voice, and
the pause is due to the circumstance that strings
require time to get into audible vibration. This
is a highly interesting experiment for singers,
because it shews that vowels are really only
qualities of tone which can be mechanically re-
produced. And it is still more interesting
generally as showing the precise way in which
qualities of tone are communicated to the ear by
the microscopical piano already mentioned, which
forms the extremities of the nerves of hearing.
These are set in motion by the vibrations of an
elastic fluid in which they are immersed, and
which has had its own vibrations communicated to
it by the elastic external air. In the actual piano
the strings are set in motion by the vibrations of
the sounding board, which again has had its own
vibrations communicated to it by the external air.

Mr. A. Graham Bell, son of Mr. A. MelviUe Bell
(to whose labours on speech I shall often have to
allude), in the Centennial Exhibition at Phila-
delphia, in 1876, exhibited a means of conveying
the complex vibrations which produce the effect of
vowels, and musical notes, that is, of vowels spoken
and sung, through an electrical telegraph, to an
ear placed at the other end of the telegraph wire,
simply by making an elastic spring vibrate in
sympathy with the vowels. This extraordinary
fact, which is of great importance in clearing up
our notions of the nature of vowel qualities of
tone, was vouched for at the Glasgow Meeting of
the British Association in 1876, by the great
electrician, Sir William Thompson, who had him-
self heard the vowels produced.

SHOET KEY TO GLOSSIC.

III. SHOET KEY TO GLOSSIC,

DIAGRAMS, SYSTEMATIC ARRANGEMENT OF THE SPEECH-SOUNDS.

Description of the following Tables. In the

preceding Sections it was sufficient to indicate our
13 strong or accented vowels by 13 words contain-
ing them. But before proceeding to explain the
nature of particular speech sounds here considered,
it is necessary to give some notion of the system-
atic method of writing them here adopted, and
called " Glossic." In the Tables of " English and
Foreign Glossic" there is given a column of words
in small and large capitals, each followed by a
word in small letters. The large or small capitals
indicate Glossic, the small letters customary or
Nomic spelling, and each word is written in both
spellings. The Glossic large capitals shew the
combinations of letters which represent the sounds
expressed by the Nomic Italic letters. The turned
period () or accent mark shews that the preceding
vowel is strong, and, when the accent mark follows
the vowel immediately, the vowel is long, but when
a consonant intervenes, the vowel is short. By
this means a general idea of the sounds will be
obtained, sufficient for understanding the pro-
nunciations occasionally inserted. For numerous
examples and exact descriptions see the " Glossic
Index" (Section XII) and the pages there referred
to. Words in Glossic Spelling are usually dis-

tinguished by being in Italics or else between
square brackets [].

The diagrams are sufficiently described on the
page which faces them, and will be frequently
referred to hereafter. They may be disregarded
at first.

The "Systematic Arrangement" includes all
the sounds treated in this book For an explana-
tion of such symbols as are not found in the
following short key, see the passages referred to in
the Glossic Index. They are collected together in
this place for future reference, and may be entirely
passed over at first, as they will be unintelligible
without the following explanation.

Note, that th, dh, kh, gh, sh, zh, ng must be
separated ,by a hyphen when they have not the
following meanings, as pot-hous,mad-hous,bai'k-hous,
bag-hoal, mis-hap-, in--goa~ing, as poth-ous, madh-
ous, baikh-ous, bagh-oal, mish-ap, ing-oa'ing would
represent quite different sounds.

Note also that the accent mark () is generally
sufficient for this purpose,, as pot'hous. The accent
mark is placed immediately after a long vowel or
diphthong, and immediately after the consonants
following a short vowel in the same syllable, as shewn
in the examples. It is not used in French words.

Strong Long Vowels.
BEE-T loeet xAU'L caul

DAI-T bait KOA-L coal

BAA- loaa icOO'L cool

ENGLISH GLOSSIC.

Weak, Short, and Open Vowels.
TROA'KEE troche AUeus'T ^gust

WiT'I witty wiN'DOA window

RAi-LwAI railway IN-FLOOENS inflwence

Strong, Short, and Stopped Vowels.
N!T ING knitting NOTING knotting

MAT- ING matting rUOx-iNG footing

(Note. AE, UU are used by some speakers only.)

AAY aye

height

HAI* Aay

Diphthongs.

FOIL foil

FOUL fowl
FEUD &wd

Glottid.

Sec. III.

SHORT KEY TO OLOSSIC.

Consonants.

Vocal R. Weak.

YAI' yea

WAI' way

DOL'ER dollor ON'ER honowr

YHEU hue

WHAi- wAey

PROP-ER proper MER'MER nmr-mwr

PEE' pea,

FBI fie I

EELiK-sER elixir PLEZH'ER pleasure
TAi'LER tailor

BEE- o"ee

VEI vie

TOA- toe

THiN- thin

Vocal R. Diphthongal.

DOA- doe

DHEN- Men

pEE-R p^^r NAU-RTH north

CHES-T chesi

SEE-L seal

pAI-R pair pOA-R pour

JES - T yest

ZEE-L zeal

pAA'R par POOR poor

KEE-P &eep

MESH- mes^

GAIT gape

MEZH-EK measure

Vocal R. Triphthongal.

EIR ire OUR owr EUR your

Consonantal Z, Jf, JV, -ZV0.
LAI* /ay KAI- wav

Vocal R ( 'Strong $ Diphthongal} followed

MAI* waay

siNG-iNG singing

by Trilled R\
OKER-R'iNG occurring nAA-RR'iNG marring

Focal L, M, N.

pEE-RR'iNG peering pOA'RR'iNG powring

LIT-L littfo

RITH-M rhythm OA-pN open

pAI-RR'iNG pairing pOORR'ER poorer

Trilled J?'

Vocal R (TriphthongalJ followed by Trilled R\

R'AI* ray

HuR'-i hurry

rEI-RR'i ) .. FLOU-RR'i )
FEI-UR'i 1 iier ? FLOU-UR'i }* er J

MER''i merry

OKuR''ENs occurrence.

KEU'RR'iNG cwring

MAR' 'i marry

Weak indistinct A, EL, EM, EN.

Vocal R. Strong.

EiDEE'A idea suoz-EM bosom

HER-B h*rb

KER- our

EiD-EL idol TEN-ENr tenant

MER' myrrh

OKER- occwr

REE'EL real

FOREIGN GLOSSIC.
(F. French, G. German, I. Italian.)

Foreign and Provincial English Vowels.
DUE M. F.
UEx hwtte. F.
pEO feu. F.
oEO-Tu. Geothe. G.
vOEp veuL F.

bo'cke. G.

bete. F.

coquette. F.
LAHsH Itiche. F.
KAHsAi casser. F.
NAO no. I.

French Nasal Vowels
vAEN' vin. F. OAN' on. f .

AHN' an. F. OEN' un. F.

German Consonants.

DAAKH- dacA. G. KEo-NEEGY'Hukoni^e. G.
TAA-GHu ta^e. G. PF'AA-L p/ahl. G.

EEKY'H ich. G. VAA-L wahl. G.

LY'EE gl\. I.
PAA'LY'AA

Italian and French Liquids.

NY'AOK/KQA ^WOCCO. I.

I. BEEZAO-KY'AA bisog^ia. L
beso^we. F.

SHORT KKI TO GLOSS1C.

Sec. III.

DIAGEAMS OF' POSITIONS FOB VOWELS AND CONSONANTS.

..-*-.. 2 3

TJ
ft']
*

tX -V\ 5

Cue
"W*

Urns.* Voiced Consonants. ( Rounded Vowel. ] Wide Vowel. ( ] Wide Bound Vowel.

Sec. HI.

SHORT KEY TO GLOSSIC.

DESCRIPTIONS OF THE DIAGRAMS.

These are merely diagrams, not complete draw-
ings of the vocal organs. They are intended to
shew roughly the positions of the tongue with
regard to the palate, teeth, and uvula, and the
position of the lips with respect to each other, and
to the teeth) during the utterance of the vowels and
consonants described in the following Sections.

Diagrams 1, 2, 3, 4, 5, 6, 7 (occupying the whole
first column) are longitudinal sections of the
mouth, supposed to be cut from top to bottom,
from the back (on the left), to the teeth in the
front i on the right). The shaded parts are the
Uvula [eu-veula] and the Tongue. The top line
denotes the Palate [pal'et] or roof of the mouth,
and the sharp angles on the right are the upper
and lower Teeth. The wavy line at the root of
tongue is the Epiglottis [ep-igloHs] or lid of the
larynx. The line against which the uvula rests to
prevent the air escaping through the nose is the
back of the Pharynx [far'-ingks] or fleshy bag
behind the mouth.

Diagrams 15, 16, 17, 18, 19, 20, 21 (occupying
the whole of the third column, and also 25, 26, in
the fourth column) are similar sections, extending
as far as the lips (also shaded \, but 15 and 18 omit
the tongue as its position for P, B*, F, V* is
determined by that due to the following sound.

Diagrams 22, 23, 24, in the fourth column, are
similar sections, including the lips and one Nostril,
and also the Upper Bag of the Pharynx, through
which the air escapes into the nose (in the direction
shewn by the' dotted line and arrow heads) , because
the uvula is not pressed against the back of the
pharynx, as in 1, 2, 3, &c.

Diagrams 8, 9, 10, in the second, and 27, 28, in
the fourth column, are cross sections of the mouth,
in front of a line joining the ears. The upper
curve is the Palate or roof of the mouth ; the side
pendants are the Side Teeth, and the shaded part is
the upper portion of the tongue.

Diagram 11, in the second column, shews the
open or non-rounded lips, and 12, 13, 14, also in
the second column, shew the lips rounded in dif-
ferent degrees, the teeth behind them being always
wide apart. Observe the difference of the corners
of the mouth in 11 and 14. In 12, the lips are
high-round; in 13, mid-round; and in 14, low-
round.

The letters to the left of each diagram, are the
Glossic characters used for the corresponding
sounds in the preceding " Short Key." Sometimes
two or three diagrams are required to shew the
position for one vowel or consonant.

The CAPITAL LETTERS indicate the vowels
heard in received English pronunciation. The
small letters shew the vowel sounds heard in
German, Italian, and French.

AVhen ] is placed after a letter, as for AA], the
larynx must be depressed, and the pharynx
widened. When ( is placed before a letter, as for
(OAj the lips must be rounded, as marked in dia-
grams 12, 13, 14, in the second column, according
as the tongue is high, mid, or low for producing
the vowel, thus (00, (TJO], (ue, have the high-
round lips in 12, (OA, UO], (eo, (oe] have the mid-
round lips in 13, and (ATT, (0,have the low-round
lips in 14. When no ( is prefixed, the lips are as
in 11. When ( is placed before and ] after a letter,
as for (0], the lips must be rounded and the larynx
depressed and the pharynx widened at the same
time.

When * is placed after a consonant the voice has
to be set on.

YH, Y* differ too slightly in position from EE,
and \VH, W* from (00, to be distinguished from
them in these rough diagrams.

H, accompanied, or not by unvoiced breath, being
produced by a jerk of the diaphragm (derufram),
or muscular layer separating the lungs from the
bowels, has no diagram.

In S, Z* the tip of the tongue is tense or stiff.
In R'* it is soft or loose, and vibrates as the breath
passes over it, producing interruptions or beats.
Observe that for L*, diagram 27, the centre of the
tongue, and for R'*, diagram 28, the sides of the
tongue touch the palate. For T, D*, diagram 16,
both the centre and the sides touch the palate,
forming a complete stop.

B* is treated as a vowel, diagram 4, being the
sound of U, always followed by R'* before a vowel,
and permissively, not obligatorily, followed by a
very gentle R'* in other cases.

Diphthongs and changing positions could not be
noted, but are analysed in the following Sections.

SHORT KET TO GLOSSIC.

Sec. III.

SYSTEMATIC ARRANGEMENT OF ENGLISH, GERMAN, ITALIAN
AND FRENCH SPEECH-SOUNDS.

Capitals, English. Roman small, additional German, Italian, and French. Italic small, Incidental.

t, not treated in these pages.

Call the letters by their usual names, except r, which call air to prevent confusion with aa, and m, which
is best called am, as em and en are difficult to distinguish. Call (') before and (') after a letter " hook,"
n before a letter "curve," () before a letter "circle," (?) "gradual," (?) "clear," (-J-) "glide,"
(--) " slur." Thus : uu " eu eu" w " double eu" Q h' " circle aich hook," hj. " aieh clear," t r " curve
air" V "hook air," r" "air double-hook."

A. VOWELS. SECTION V.
I. n. in.

IV.

Height

Tongue.

Primary.

Wide.

Bound.

Wide-round.

Nasal.

High Front.

Mid Front.

oen'

Low Front.

aen'

High Mixed.

Mid Mixed.

Low Mixed.

High Back.

uu'

Mid Back.

oan'

Low Back.

ah AU

ahn'

B. GLOTTIDS. SECTION VII.

1. h, open glottis, flatus

V. h', contracted glottis, whisper.

3. h\ closed glottis, voice.

4. 2, gradual attack or release, glottis moving

from open to close, or from close to open,
position.

5. ?, clear attack or release, glottis closed for

voice from first to last.

6. ; , check, closed glottis, barring expiration by

effectually resisting the pressure of the air.

7. jBT, jerk ; including hi jerked gradual attack,

and hi jerked clear attack, the two forms of
aspirate.

Sec. Ill

SHOUT KEY TO GLOSSIC.

C. CONSONANTS. SECTION VIII.

mtacts or Straits
form ed by

1. Lips round.

I
1

1
1
S

Teeth and Point 1
of Tongue.

Gums and Point 1
of Tongue.

Palate and Point 1
of Tongue.

Arched Front of 1
mgue and Palate. 1

Sollowed Front of I
mgue and Palate. 1

Front and Point 1
of Tongue.

Front of Tongue 1
and Palate.

&
o3 fl

Back of Tongue 1
and Palate.

Back of Tongue. 1
alate, and Lips. 1

Tj!

^ ^

OD ^

<>i

m PH

ORAL.

SHUT.

Mute.

t t

kw 1

Imploded.

Voiced.

d 1

t d

gw"

CENTRAL.

Flated.

t'h

sh'

ky'L

kw'h

Voiced.

cTh

zh'

gy'ii

ffw'h

LATERAL.

Flated.

Ih'lh

Voiced.

-L'l

iy'

TRILLED.

Flated. '

*pr

r"h

r'h

'rh <kh

Voiced.

<br

<wr

t r (t r

'r"r'ffh

NASAL.

SHUT.

Flated.

n"h

ngh

Voiced.

ri"

t n

ny'

D. GLIDES AND SLURS. SECTIONS VI & IX.

1. Vowel A.+I-HJ.

2. Mixed, B+I+Z+IL+I.

Consonant P-J-
C

MODE OF PRODUCING SPEECH-SOUNDS.

IV. MODE OF PRODUCING SPEECH-SOUNDS.

Flatus, or Audible Breath. Breath driven from
the lungs passes, through the "larynx " (lar''ingks)
and throat, into the mouth or nose, or both, and so
reaches the air. When the larynx is unobstructed,
and the force with which breath is ejected is
moderate, no sound is noticed. When the breath
is driven more sharply through the unobstructed
larynx, and the other passages are more or less
compressed or obstructed, it is called " flatus "
(flai-tus), and produces various kinds of "hiss."
Both breath and flatus are unsuitable for singing,
although flatus is very important in speech, and,
when the cavity of the mouth is properly adapted,
can become musical in " whistling*"

Vocal Chords. The opening of the larynx is
traversed by two highly elastic bands, called the
" vocal chords." A good notion of their shape and
action is obtained by extending the fore and
middle fingers of the left hand (the other fingers
and thumb being doubled in), and resting their
tips on the lowest joint (that nearest the palm of
hand) of the fore and middle fingers of the right
hand, the rest of these fingers and all the other
fingers being bent down, and the palms of both
hands facing the ground. The figure thus formed
is lozenge-shaped, with two long sides (the left
fingers representing the vocal chords) and two
short sides representing the " arytenoid cartilages"
(ar''itee'noid kaa'rtilejezj , or ladle-shaped pieces
of gristle, by which the chords can be opened or
brought together (imitated by the motion of the
right fingers). The point or vertex of the angle
formed by the chords, which are horizontal, lies in
the front of the larynx, just where "Adam's
apple " can be felt in the throat. The variable
tongue-shaped opening between the vocal chords is
-Ailed the " glottis " (glot'is).

Whisper as Distinguished from Flatus.. -When
the chords and cartilages are both open, there is a
perfect passage for the breath, and only inaudible
breath or audible flatus is possible. When the
edges of the chords are brought near, but not in
contact, there is a " fluttering" of the edges of the
chords, which, though insufficient to produce voice
proper, causes " whisper," which is felt as a
mixture of voice and flatus. This is also quite
unsuited for singing.

Voice and Original Quality of Tone. When
the edges of the chords absolutely touch, forming
a complete barrier to the breath, but are not held
tight and rigid, so that the breath is able to open
them slightly, after which they close again by
their own elasticity, the air passes out in regularly
recurrent " puffs." The rapidity of these puffs de-
pends on the "tightness" with which the chords are
stretched; and the " cleanness" of the puffs (that
is, their sharp separationJrom each other) depends
upon the exactness and duration of the closure of
the chords, the length of time during which they
remain closed, and many other circumstances.
The " rapidity " of the puffs (that is, the number
of them which occur in a second) determines the
pitch of the compound musical tone, as defined in
Sec. II., p. 8. The " cleanness" of the puffs de-
termines the initial quality of tone, that is, the
number of partial tones in any musical tone of the
voice (always very large) and their relative
degrees of loudness. The natural formation of
the chords and the perfect exactness and nature of
their elasticity are the main ingredients in a good
voice. This quality is, however, greatly influenced
by a little, but extremely variable, cavity, just
above the chords (" the ventricle of Morgagni,"

Sec. IV.

MODE OF PRODUCING SPEECH-SOUNDS.

ven'trikl ov Maor'gaa-ny'ee) by the box of the larynx
itself, and especially by its lid, the " epiglottis "
(ep'iglot-isj. But though all this apparatus greatly
changes the quality of tone, by which we express
the various kinds of emotion mentioned in Sec. I.,
p. 2, and hence becomes of the greatest importance
both to the singer and the orator, they do not
make the modifications recognised in speech proper,
and they cannot be described with sufficient brevity
or clearness for practical purposes. All these
modifications of quality have, therefore, to be
learned by special training exercises, patterned by
a skilful teacher, which it is not our business at
present to consider. It is, however, important to
know, that the singing and speaking voice issues
from the larynx and enters the throat or " pharynx"
(far" -ingles; with a determinate quality of tone and
a determinate pitch, and that the quality, but not
the pitch, has to be subsequently modified by the
resonant cavities through which it passes, and
that this modification transforms the merely vocal
sound into intelligible speech.

The Kesonance Cavities The reader should
now refer to the rough diagrams on p. 14, with the
explanations there given, which will be rendered
more intelligible by what follows. The wavy line
at the bottom of diagrams 1 to 7 indicates rudely the
top of the epiglottis. The " voice " (or recurrent
puffs forming the air within the cavities into
waves) passes between it and the line to its left,
which forms the back wall of the pharynx. These
diagrams shew a little shaded tongue, the " uvula"
(eicveula) , lying against this wall, so that the puffs
of air have to pass into the mouth, through a
narrowing passage (not shewn in the diagrams)
called the " arches of the palate." These and the
uvula are easily seen in a small looking-glass when
the mouth is opened. If, however, the uvula lie
free from the back wall of the pharynx, as in
diagrams 22, 23, 24, the voice or puffs of air can
also pass behind it, as shewn by the dotted line and
arrow heads, through the pear-shaped "upper"
pharynx and the " back " nostrils (which lie where

the dotted line cuts the front wall of the uppei
pharynx), into the complicated "nasal cavities"
above the " hard " palate, and finally escapes by
the " front " nostrils.

Brief Definitions of Breath, Flatus, Whisper,
and Voice as Originators, and Throat, Nose, and
Mouth as Modifiers of Sound. The points to be
borne in mind by the singer or speaker who wishes
to understand the nature of pronunciation are
these :

Breath. Quiet, noiseless emission of air from the
lungs through the open glottis, and unobstructed
mouth or nose, or both, unvocal, unmusical.

Flatus. Audible emission of air, through the open
glottis, and more or less constricted or obstructed
throat, mouth, or nose, unvocal, unmusical,
more or less hissing.

Whisper. Audible emission of air, through a glottis
nearly but not quite closed, thrown into imper-
fect puffs by the fluttering of the edges of the
vocal chords, but allowing much flatus to pass
without sensible alteration by the puifs, un-
musical, but occasionally used in speaking, more
or less vocal.

Voice. Audible emission of air through a com-
pletely closed glottis, forcing the chords asunder,
and wholly reduced to regular puffs, that is,
without allowing any sensible flatus to pass, with
a variable, but in each case definite, original
quality of tone and pitch, producing sonorous
undulations (soanoa'rr'us undeulai'shenz) in the
resonance cavities, which modify the quality of
tone (but not the pitch") by altering the relative
degree of loudness of the upper partials (p. 8), and
send out the undulations to the atmosphere,
producing the sensation of a more or less musical
sound with a definite quality of tone, vocal,
musical.

MODE OF PKODT7CING SPEECH-SOUNDS.

Sec. IV.

Resonance Cavities. Besides the small cavities of
the larynx which determine the original quality
of tone, there are three principal cavities, under
the voluntary control of the speaker or singer,
which modify it. These may be called,

Throat. The lower pharynx from the epiglottis to
the part where the uvula cuts off the entrance to
the nose, and the arches of the palate form the
entrance to the mouth all breath, flatus, or
voice must enter this cavity.

Nose. The upper pharynx and the cavities above
the hard palate, from which all breath, flatus, or
voice can be cut off at pleasure.

Mouth. The cavity between the arches of the
palate and the lips, the most modifiable of all
the resonance cavities.

How to Study the Effect of the Modifiers. The
first business of the pupil in learning to pronounce
accurately, whether in speaking or in singing, is to
study the method of altering the form or action of
these three modifying cavities, throat, nose and
mouth, and the effect of their various changes in
modifying the quality of tone. Numerous exer-
cises will be suggested for bringing these actions
home to the consciousness of the learner, as
particular cases occur, but it is first advisible to
obtain a general notion of the action. As this
book is intended especially for singers, the singing
voice will be alone considered, and it is fortunately
altogether simpler than the speaking voice.

Throat Modifications. During quiet respiration
place a finger gently on the hard lump of the
Adam's apple, or gristly box forming the larynx.
Close the mouth tightly and swallow. The larynx
will be felt to jump upwards, quite above the point
of the finger. After practising this once or twice,
till the action of the muscles becomes understood,
raise the larynx without swallowing. It is evident
that when the larynx is raised the whole of the
pharynx is shortened, and hence its shape is
materially altered.

Next place the thumb and two fingers lightly on
the throat above the larynx, close under the jaw,
and swallow as before. It will be found that the
throat, which was before soft and loose, becomes
suddenly hard and tight, and projects considerably.
Hence when the larynx is raised there is a great
contraction of the muscles in this region, which
makes them swell externally, and also internally,
constricting the pharynx as well as shortening it.

Sing to the vowel aa, a middle note in youi com-
pass and call it d, and then take s above and s,
below, both as nearly as possible to the same vowel-
sound aa , while holding the throat in the two
ways just mentioned, and observe generally that
the higher note raises and constricts the pharynx,
and the lower note lowers and relaxes the pharynx.

In actual singing and speech very great varieties
in the length and degree of constriction of the
pharynx take place, but it is found sufficient for
the classification of speech-sounds to distinguish
two classes of modification: Throat primary, that
is, with the larynx and pharynx in about the ordinary
position of quiet respiration ; Throat wide, that is,
with the larynx lower and the pharynx opener than
before. This refers evidently to the ordinary
range of pitch in speech. In singing, as has just
been seen, these distinctions cannot be satisfactorily
carried out, as the pitcH naturally alters the posi-
tion of the larynx. But distinctions more or less
equivalent to these can be made, as was intimated
in Section I., and will be more particularly alluded
to afterwards, and hence we may retain the rough
distinction of the terms primary and wide, which
were introduced by Mr. Melville Bell in his
" Visible Speech," when he for the first time drew
attention to the effect of pharyngal action on
speech-sounds.

Nose Modifications. Open the mouth as widely
as possible, facing the full light of a window, with
the head well thrown back to admit the light, and
with a very small piece of looking-glass, which will
not cast asha.dowin thethroat, observe the interior of
the mouth. Note especially the arch of the palate,
and the uvula hanging from the middle of it like a

Sec IV.

MODE OF PRODUCING SPEECH-SOUNDS

little tongue the real tongue may be kept down
by thinking of the vowel ait, without making any
attempt to utter it. Now breathe quietly through
the nose only. It will be seen that the tongue
immediately rises, and clings close to the top of
the arch of the palate, completely concealing the
uvula. This action closes the mouth against the
passage of the air from the throat, and forces it
through the nose. Then draw breath through the
mouth, and the tongue immediately sinks, and
observe its alternate rise and fall for a few respira-
tions. Change the mode of respiration, inspiring
and expiring by the nose only. The tongue will
be seen to remain fixed above. Again change the
mode of respiration, and expire by both the nose
and the mouth. When the motion is gentle, you
will see the uvula gently advance every time you
expire, and if you breathe with a jerk, the uvula
will be absolutely jerked forward, together with
all the loose folds of the " soft palate " forming
the top of the arch of the palate, and the point of
the uvula will be thrown upwards. This is pro-
duced by the rapid passage of the air both behind
the uvula and below it.

Stand as before, with open mouth and glass, and
breathing quietly for one or two respirations,
suddenly say or sing the vowel aa to a short
staccato note at an easy pitch, and then proceed
with the easy respiration. Do this several times
in succession.' Observe (and don't cease experi-
menting till you have clearly observed) that every
time aa is sung there is formed a sudden dimple or
saucer-shaped depression in the uvula just below
the arch of the palate and some little way from its
tip, evidently arising from bringing the back of
the uvula against the back wall of the pharynx, as
shewn in the diagrams 1 to 7, having the effect of
stopping off the passage of air into the nose, just
as the tongue in a former experiment stopped off
the passage of air into the mouth.

Next, standing as before, sing aa steadily at an
easy pitch, and observe that the uvula is drawn
back as already mentioned. Then in the same
breath and with the same degree of force (trying

to keep the tongue quite steady, which will be
found difficult), endeavour to give aa a "nasal
twang," which 1 will write as t aa, and observe that
immediately the quality of tone changes, the uvula
again descends freely, as in the quiet respiration
through mouth and nose. The eifect is not so
strong or striking as before, because the voice does
not admit of being emitted with so much force as
the unobstructed breath, but if carefully observed
for several successive alterations of aa ( aa aa t aa aa,
it will be quite unmistakable. The greatest diffi-
culty will be felt in keeping the tongue down to
its proper position for aa, as it involuntarily rises
to check the air from entering the mouth, and, if
the tongue is not kept down, the uvula cannot be
properly seen This exercise will also shew that
nasality cannot be prevented by throwing the head
well back, but that a muscular action is still
necessary to press the uvula against the back wall
of the pharynx and keep it there.

After this has been practised before the glass till
you are familiar with the action, practise it without
the glass, and get to feel the action of the muscles
required to draw the uvula away from the wall of
the pharynx. Practice also to feel the difference
between a small and a great degree of nasal twang.
Practice also the effect of closing the front nostrils
with the fingers, while singing aa and while sing-
ing t aa, and observe that this closure leaves aa
absolutely unaltered, but changes t aa, not into aa
or any untwanged vowel, but into a different nasal
twang, arising from the circumstance that the
resonance in the nasal cavities, which still takes
place, does not freely communicate with the outer
air. The power we have of altering the degree of
nasality depends, at least partially, on the degree
of opening between the back of the uvula and the
wall of the pharynx, and the slightest degree of
such opening during the sound of a vowel is unen-
durable in English, German, or Italian singing,
though occasionally necessary in French. As
many English, and especially Americans, and even
Germans are apt to nasalise their vowels, and most
especially this vowel aa, the most careful practice

MODE OF PRODUCING SPEECH-SOUNDS.

Sec. IV.

is required to avoid it, and the valvular action of
the uvula should be thoroughly understood by
much repetition of the experiments here suggested,
which may be easily considerably varied.

Mouth Modifications Action of Teeth and Lips.
The size of the mouth may be greatly changed,
without much alteration of its form, by the open-
ing and closing of the jaw. Many speakers are in
the habit of keeping their teeth closo. In the
experiments of Section II, we saw how much the
closing of the opening of a resonance cavity alters
its pitch, and hence its modifying power. No good
clear tone can be produced when the teeth are
closed. Sing aa with lips and teeth wide open;
endeavour to retain the tone, pitch, and force abso-
lutely unchanged, while the jaw is suddenly closed
and the teeth locked, the lips remaining as far open
as possible, and observe the difference of effect.
As a general rule the singer should always keep his
teeth far enough apart for him to insert the first
joint of his thumb between them. For high notes
a wider opening is required. But the opening
should never be less while a vowel is sung. All
closure should be made by the soft lips only. Sing
the vowel aa with wide teeth and lips, and then,
while endeavouring to keep the tone, pitch, and
force constant, alter the shape of the lips as sug-
gested by the diagrams 11 to 14, passing slowly
and gradually from 11 to 14, 13, and 12 in this
order. Also try the effect of protruding the lips
in a funnel shape, and of bringing the inner parts
close and projecting the outer margins. Also try
the effect of large and small side openings, so that
there is leffc only a small opening at one corner,
and make this opening at one time as round, and
at another as flat as possible. Also try the effect
of drawing the lips tightly in, while closing them,
bringing the outer margin as near the inside of the
mouth as possible. Try also to pass by insensible
degrees from one position to the other. Observe
very carefully the great modifications produced in
this one clear vowel aa by this alteration of the
lips only, while the teeth and tongue are kept

absolutely fixed, and the mind intends to utter the
vowel aa all the time.

The open lips, as in diagram 11, are considered
by Mr. Melville Bell as ordinary, and not to
require noting. Closure of the lips in any way is
termed rounding, and three degrees of rounding
are recognised, as in diagrams 12, 13, and 14, as
usually accompanying various heights of the
tongue. This may still be retained as convenient,
though the experiments just made will shew the
learner that it is only a rough classification.

Mouth Modifications Action of Tongue. The
chief source of change in the shape and resonance
power of the large cavity of the mouth arises from
that extremly movable, flexible, extensible, con-
tractible plug, the tongue. Throughout all the
explanations of the next Section it will be advis-
able to watch it with two small pieces of looking-
gkss, one held in front of the mouth, and reflecting
the opening and tongue directly to the eye, and the
other held at the side, and so turned as to reflect
the tongue to the first glass, which reflects it to
the eye. There will be found some difficulty at
first in managing these glasses, and in keeping the
lips and teeth sufficiently open to see the action,
but it is a difficulty worth overcoming to those
who wish to understand the unruly instrument
with which they will have so much to do in speak-
ing and singing.

The upper surface of tongue is roughly divided
by Mr. Melville Bell into three parts, back, front,
and tip ; the back being that part which is nearest
to the throat, the tip that which is nearest to the
teeth, and the front the intermediate portion. Mr.
Bell also recognises three degrees of height of the
tongue, low, mid, and high, and this height may
affect either the back only or front only, or both
together, producing a mixed position. All these
distinctions are very rough, of course, but also
very convenient, and sufficient for most purposes.
But it must be borne in mind that they do not pre-
tend to be accurate or exhaustive, and a few simple
experiments will shew that numerous additions
would be required to make them at all complete.

Sec. IV.

MODE OF PRODUCING SPEECH-SOUNDS.

Sing the vowel aa, with open teeth and lips, and
with the tongue in the freest and easiest position
capable of producing a good tone, and keep up the
intention of pronouncing this same vowel while the
teeth and lips are kept fixed, and only the tongue
is moved, the nose being constantly shut off by the
uvula. First gradually protrude the tongue out
between the teeth as far as possible, keeping it
clear of the upper teeth ; the quality of tone will
be found to alter sensibly for the worse. Next,
bringing the tongue back to its usual position,
sound aa clearly, and make the tongue as small and
as low as possible ; observe the new alteration of
tone, which decidedly thickens in quality. Pass
rapidly from this to the former position with
extended tongue, and the aa sound will seem to
become entirely obliterated. Re-assuming the aa
position, bring the tip of the tongue well up, so
that the under surface of the tongue is easily seen,
but the tip does not touch the palate. Observe
that this again roughens and thickens the sound,
but in a different way from that resulting from
lowering the tongue, and that the vowel would be
clearly recognised. Now carry this further, bend
the tcngue so round that the under surface of the
tip rests firmly on the hard palate, and observe
that the last change of quality is also carried
further, and the musical character of the tone greatly
altered for the worse. This difference of quality
is best appreciated always by rapid changes to the
extreme positions. Re-assume the aa position,
press the tip of the tongue firmly against the
lower gums, and endeavour to pronounce aa while
you raise the back of the tongue only. Observe
that the intention to pronounce aa in such a posi-
tion results in complete failure, a mere abortive
noise resulting and dying rapidly off. Re-assume
the aa position, and move the tongue about

fantastically, observing the changes, till occasion-
ally either with the back or broad front and tip of
the tongue the whole passage of air is stopped, and
observe the sudden cessation of sound.

Object of these Experiments and Observations.

Some of the above sounds are more or less used
in some languages, but the experiments suggested
have been purposely selected so as to avoid known
sounds, in order that the learner may feel for
himself the meaning of sudden and gradual
alteration of the resonance cavity of the mouth by
the action of the tongue and lips. Absurd as
many of the results may appear, they will all prove
useful in familiarising the mind with the notion of
the modifications produced in one original quality
of tone by voluntary modifications of the forms of
the cavities through which voice or flatus has to
pass, and will render the following explanations
perfectly easy and simple to comprehend. The
actions of the tongue, lips, and throat become
almost involuntary, and certainly unconscioiis,
through habit, and are performed with so much
rapidity, that they are extremely difficult to
analyse. But such an analysis must be attempted
when any new sounds have to be produced, or
familiar sounds corrected. Hence the necessity of
first performing such extreme experiments as are
here suggested, which, lying altogether out of
usual habits, require a conscious action to repro-
duce. The examination of the throat by touch,
and of the uvula, lips and tongue by sight, will
aid materially to a right conception of what is
required. The desired result, however, will not be
gained unless the learner finally attains the same
unconscious power of producing the desired results
as he already does for ordinary speech.

V. VOWELS.

Definition of a Vowel. The experiments in
Sections II. and IV. lead to the following primary
principles : An original quality of tone is pro-
duced by the vocal chords and the cavities of the
larynx. This quality of tone is modified by the
passage of the undulating air from the larynx
through the throat, nose, and mouth, jointly or
severally. This modification varies with the
shapes given to the cavities of the throat, nose,
and mouth, and is, in general, different for every
difference of shape, although, exceptionally, differ-
ent shapes may produce the same, or at least,
indistinguishable modifications. The modification
may leave the original quality of tone more or
less musical, or render it more or less unmusical.

A Vowel is a fully musical modification of an
original quality of tone, produced by a definite shape
of the cavities of the throat, nose and mouth.

That this modification should be appreciable it
must last for a sensible time, which may be very
variable. Hence we have short, medial (that is,
middle length), and long vowels. But if con-
tinued for a very long time the modification ceases
to impress the ear, which perceives only the
persistent quality of ton?. It is by a tolerably
rapid change of quality unly that the difference of
modification is felt, and the separation of the
symbols as. telegraphic marks of thought, is
thoroughly appreciated.

" Genera" and "Species" of Vowels. Slight
variations of the definite shapes of the throat,
nose, and mouth, produce slight changes in the
modifications of quality which produce vowel effects.

Each such is really a separate vowel. But when
the difference is small, the ear fails to appreciate
it, even when the sounds are uttered very closely
after one another, without severe training and
practice, such as is never undertaken except
by investigators. The listener merely wants to
know those broad distinctions which indicate
differences of thought. National habits, accur-
ately cultivated, and local habits of small com-
munities, where the speakers cannot even read and
write, lead to very fine distinctions, which serve to
separate the native from the stranger, who seldom
or never attains the precise native sound. It is
sufficient for the stranger to be readily understood
by the native, and for the native to apprehend
without difficulty, what is the vowel modification
intended by the stranger; because in that case
thought is reciprocally communicated. This is a
most important consideration in the pronunciation
of foreign languages.

Each vowel, as usually understood, is therefore
not one single definite modification of the original
quality of tone, that is, one single " species "
(spee-shieezj, but a whole set or kind or " genus"
(jee-nusj of modifications strictly separated by the
consciousness of the speaker and the listener from
other kinds or " genera " (jen'er'a). The speaker
and singer has therefore to study the "generic"
fjener'-ikj character, and learn the permissible
amount of " specific " (spisif-ikj variation from
the " type." This is especially important to the
singer, as appears by Section I., because he has
to produce recognisable vowel modifications under
circumstances for which the original type wis not

Sec. V.

VOWELS.

framed, and for which, it is sometimes not well
adapted, as when singing ee at a very low pitch
or oo at a very high pitch.

It becomes necessary, therefore, to give the
"typical" (tip'ikel) forms of the cavities of the
throat, nose, and mouth, for producing a vowel
genus, and to learn, so far as is necessary for
practical purposes, its admissible and inadmissible
variations, of which the first form the vowel species
of that vowel genus, and the second form vowel
species of some other, often unknown, vowel
genus. And these typical forms must be such as
will produce the typical vowels recognised in the
"received," "refined," "literary," "educated,"
"cultivated," or rather "central" pronunciation
of any language, as distinct from the " vulgar,"
" rude," " illiterate," " uneducated," " unculti-
vated,", or rather "local" pronunciations still
heard in different parts of different countries,
formerly much more prevalent than at present, and
apparently destined to expire. In the present
work the "central" pronunciations of English,
German, Italian, and French, alone, will bo
considered. Other languages, and local varieties
will be noticed only in passing, for illustration or
warning.

How the Forms of the Resonance Cavities for
Vowels are to be Described. In describing the
forms of the cavities I shall adopt almost exactly
the terms used by Mr. Melville Bell, who has
pointed them out more accurately and definitely
than preceding writers. See his "Visible Speech."

Throat. As we have seen in Section IV., all
sounds are "guttural" (gut'ur'el) or employ the
throat, hence the throat need not be expressly
named, but merely its states, distinguished as
primary fprevmur 1 i) or usual for any particular
sound, and " wide " or enlarged somewhere. These
distinctions are sufficient for our present purposes.

Nese. When the nasal cavity is not cut off by
the method shewn in Section IV., the mouth either
may or may not be shut off, that is, the voice may
pass out through the nose only (in which case it

also generally resounds in part at least of the
closed mouth), or through nose and mouth at the
same time ; these cases will be distinguished as
" nasal " (nai-sel, nai'zelj, and " orinasal "
(oa-rr'mavsel, ocrrr'ina'izelj .

Mouth. When the cavity of the nose is entirely
cut oif , the sounds are "oral" (oa'rr'elj. But as
this is the usual case, and the cases where the
cavity of the nose is not entirely cut off have been
already distinguished, the term " oral " will not be
employed except on special occasions, and all
sounds must be considered to be " oral " unless
they are specially termed "nasal," or "orinasal."
The cavity of the mouth is bounded by the arches
of the palate, the cheeks, the teeth, and the lips,
and is more or less obstructed by the tongue.

Arches. These may be in the usual or "lax"
condition for the sound, which it is therefore not
necessary to mention, or may be " constricted,"
so that the passage from the throat to the mouth
is narrowed. Mr. Bell does not find it necessary
to mention this at all as a specific variety, but we
shall find it convenient.

Cheeks. These are assumed to be in their usual
condition, neither "hollowed" by being drawn in
between the separated jaws, nor " puffed " as in
blowing the trumpet. In general the state of the
cheek need not be noticed. But it produces
specific varieties, and in singing the cheeks require
to be "tense" or hardened muscularly, to produce
good resonance, by sufficiently resisting the vibra-
tions of the air within the mouth. The singer
must never forget that he is for the time a musical
instrument (and, of course, a good deal more), and
is subject, therefore, to all the acoustic (akou stik,
ukoo'stik] laws which regulate musical instruments.

Teeth. As already stated, the upper and lower
teeth have to be held well apart. These hard
boundaries of the mouth at its sides and front are
very important to the singer. Any gaps are apt
to impair the quality of tone, and produce un-
pleasant hisses and lisps, and should, therefore, be

26 VOWELS.

filled up immediately. It will not be necessary to
mention the teeth in describing the cavity of the
mouth.

Lips, Open, High-round, Mid-round, Low-round.
The closure of the mouth more or less by the lips
has a most important effect on the resonance of the
mouth, and must be accurately described. In the
usual case the lips are "open," as in diagram 11,
where it will be observed that the corners of the
mouth do not form a sharp angle, but are
terminated with a kind of string. Observe this
form in the glass. For very high notes the singer
will often find it necessary to open his mouth so
wide that the vertical exceeds the horizontal
opening. Various other forms of the open lips
also occur and produce small specific varieties,
which need not be noticed Diagram 11 shews
the typical form. Three degrees only of closed or
" round" lips need be noticed, though, of course, a
vast variety really exists.

" Low- round " shews that the corners are
slightly brought together, the opening remaining
considerable, as in saying au. See diagram 14.

" Mid- round " shews that the edges of the lips
touch for a considerable distance from the corners,
and the opening is much contracted, as in saying
oa. See diagram 13.

" High-round" shews that the lips are still more
in contact than in the last case, and that the
opening is very small indeed, as in saying oo ; the
contraction is often much greater than in diagram
12, and the lips are often protruded slightly, while
the whole width of the mouth between the corners
of the lips is much diminished.

It is not usual, nor generally necessary, to
mention these degrees by the additions " high,"
" mid," and " low," when these are used with the
corresponding heights of the tongue, as is usually
the case, and Mr. Melville Bell, considering no
other case, does not employ these qualifications.
But varieties occur in some parts of England even,
in which the different degrees of rounding are not
used with the corresnopding height of the tongue,

Sec. V

and in this case, as well as for teaching purposes,
it is necessary to distinguish these three principal
degrees. It should also be borne in mind by the
teacher, in order to enable him to recognise and
correct errors of pronunciation, that the typical
forms of arranging the lips, as shewn in diagrams
11 to 14 are constantly departed from. As the
lips can be always readily seen, the teacher should
watch them closely. The "pouting" of either
lip separately or of both lips together ; the
" pursing " in of the lips, giving them the effect'
of being gathered in by an inner purse string,
forming a round and much crumpled orifice ; the
"flattening" of the opening by bringing the lips
closer together in the middle, although no contact
or no greater contact is made towards the corners ;
and above all, " closing " of the aperture during
the time of utterance, so as to begin with com-
paratively open and end with comparatively closed
lips, either for vowels which should have through-
out their utterance, open, or else definitely rounded
lips ; all these are varieties actually observed in
different speakers, and all tend to alter and obscure
the sound to be produced. They are also all of
them habits very difficult to correct, as the speaker-
is usually quite unconscious of them, and has been
accustomed to them all his life.

Tongue, Back, Front, Point, or Tijj. The upper
surface of the tongue is divided into three parts,
" back," " front," or middle, and " point " or tip,
and when the under surface is exposed, by turning
the point upwards, it is said to be " reverted."
Other forms of the tongue must be specially
described in particular cases. The tongue may be
raised at three principal altitudes " low," as in
diagrams 3 and 7 ; " mid," as in diagrams 2 and 6 ;
and " high," as in diagrams 1 and 5. And in each
of these cases, either the ''back" alone may be
particularly affected, in which case we have
' high-back," diagram 5 ; "mid-back," diagram 6;
' low-back," diagram 7 ; or else the " front "
alone, producing il high-front," diagram 1 ; "mid-
front," diagram 2 ; or " low-front," diagram 3 ;

Sec. V.

VOWELS.

or finally, both front and back may be raised so
that the tongue is tolerably flat with a little
depression in the middle, and in this case Mr. Bell
calls the position "mixed," as the "mid-mixed,"
diagram 4.

The positions of the tongue having the principal
effect on the resonance of the oral cavity, and
hence in producing vowel modifications of quality,
the vowels are naturally arranged by Mr. Bell
according to the positions of the tongue, which
produce 9 different forms. Each of the resonances
thus produced may be modified by the " primary "
or " wide " condition of the throat, giving, there-
fore, twice nine, or 18 resonances. But each of
these resonances again, may be modified by the
" open" or " round " condition of the lips, so that
if we suppose the three degrees of rounding to
correspond to the three degrees of height of the
tongue, we shall get twice eighteen, or 36
resonances. These give the 36 vowels of " Visible
Speech." They are in reality only typical forms }
which are each capable of numerous modifications,
but these need not be here considered. And as all
the 36 forms do not occur in the 4 languages here
treated, they need not be all studied. In order not
to confuse the learner, 12 of them will be entirely
omitted.

Description of the Systematic Arrangement of
the Vowels on p. 16. The 36 forms of the
resonance cavities thus indicated, for oral vowels
only, are systematically arranged in the columns
I. to IV. of division A of the Table on p. 16. The
9 heights of the tongue, numbered from the
highest to the lowest, each with its systematic
name, occupy the two columns headed " Height "
and " Tongue." Then columns I. and II. shew
modifications of the throat only, the lips being
" open ;" column I. gives the " primary," and
column II. the "wide" forms. The next two
columns contain the modifications produced by
'high, mid, or low rounding' according to the
position ot the tongue. The symbols contained at

the crossing of the lines and columns are the
Glossic symbols of the corresponding oral vowels,
the f marking those which will not be considered
in this treatise. The systematic name of any
vowel is the name to the left of the line containing
its Glossic symbol, and at the top of the column in
which it lies. Thus A is low-front-wide, OA is
mid-back-round ; is low-back-wide-round. The
column V. gives four orinasal vowels to be subse-
quently considered In this table the nature of
the type, as Capital, Small Roman, Small Italic,
points out certain classes of vowels which will
require different degrees of attention.

Capital Letters denote the 13 accented English
vowels EE, AI, AA, AU, AO, OA, 00 ; I, E, A,
0, U, UO. These must be well studied in the
method to be presently pointed out.

Small Roman Letters denote, first, the two vowels
" ae, uu," which are often heard in received
English in place of E, U, in accented syllables, the
first "ae" being also common in Italian and
French, and also four vowels, "ah, eo, oe, ue,"
which are common in German and French, and are
more or less closely imitated in local English, but
are unknown in received English and Italian.
These must be also well studied.

Small Italic Letters denote four vowels, i\ a\ ?', ',
which are at least supposed to be heard in un-
accented English syllables, and which it will be
necessary to consider, but they will not require
much study, except in case of a' ; and one uu\
which occurs provincially in glides, p. 37a.

Mode of Observing, Mirror and Probe. To

examine these positions use a " mirror," or small
looking-glass not exceeding 2 or 3 inches square,
and a " probe," for which a small bone paper knife
(generally sold for a penny at stationers), or a
large bone knitting needle with a nob at one end,
or a long tapering wooden penholder, even a
tightly rolled piece of paper, may be conveniently
used.

VOWELS.

Sec. V.

1. High- Front Oral Vowels.

I. II. III. IV.

Primary. Wide. Round. Wide-round.
Symbol EE I f ue

Diagram 1,8&11. 1,8&11. 1,8&12. 1,8&12.

4. High-Mixed Oral Vowel.
Symbol f *' f f

Diagram

EE. The front of the tongue is high, diagram 1,
p. 14, very near to the hard palate. The point of
the tongue is low, just behind the lower gums, but
not touching. A little way from the point on each
side, the tongue touches the lower teeth, and pro-
ceeding towards the back, it will be found to press
firmly against both upper and lower teeth, and
each side of the hard palate, leaving a narrow
channel in the middle, diagram 8. These partic-
ulars should be determined by sight in the
looking-glass, and by feel with the probe. The
probe being placed below the front teeth and
pressed tightly against them, should be pushed
gently above the tongue as far as it will go, and
then pressing the thumb nail against the probe and
the upper teeth to mark the place where they
touch it, withdraw the probe and measure how far
it had entered the mouth. In my own case the
distance is an inch and three quarters. The
insertion of the probe will not injure the vowel
sound of EE, which will have to be continued in a
singing voice throughout the operation to preserve
the position. The lips are wide open. The throat
is compressed and shortened, the larynx being
raised. There is, therefore, an extremely small
resonance cavity in the throat and then a very
narrow passage over the back of the tongue, ending
in a wedge-shaped cavity towards the teeth and
lips. The result is EE. See Section XI., Ex. 2,
and also the examples in Glossic Index, Section
XII. under EE.

I. Grasp the throat gently above the larynx,
and feel that it is fully hard and swollen. Then

sing the vowel to a note of a tolerably high pitch,
till it comes out clearly and ringingly. Descend
gradually in pitch, but endeavour to keep the
tightening of the throat the same. This will be
found almost impossible, and any attempt to do so
will soon render the quality of tone unmusical and
unpleasant, and at the same time alter it materially
from the original vowel quality. Then allow the
larynx to sink, and the tightness to disappear
gradually, as the voice descends in pitch. The
quality of tone alters decidedly, but not disagree-
ably, and, although the vowel sound is not EE, it
can still be recognised as intended for EE. In
performing this experiment, which is very im-
portant for singers, the throat should still be
grasped, and the probe inserted to feel that the
tongue retains its position. It will be found that
there is a tendency to depress the tongue very
slightly as the pitch descends, and although this
does not materially alter the effect, it is necessary
to endeavour to keep the tongue in its high
position. The altered vowel sound is no longer
EE but I, the "high-front-wide" vowel, the
tongue remaining fixed and the throat enlarging.
Observe that in speaking, EE is generally long, and
I short, but that in singing no regard is paid to
the length of vowels usually observed in speaking,
because the duration of the note, which is fixed by
the composer, determines it, and hence EE, I, are
for singers precisely the same sound, that is, they
may be confused, according to the pitch. This is
not the case for speakers. See Ex. 12 A, Section XI.,
to which all references to exercises relate.

EE and I. Now take I at a middle pitch, and
ascend, keeping the larynx down as much as
possible. It will be found that as the pitch rises
the larynx also rises, and the quality of tone
passes naturally into EE, unless certain other
changes are made, as by slightly lowering the
tongue (so that the probe can enter about one-
eighth of an inch further) , and by endeavouring
to make the lower part of the shortened pharynx
less constricted. Try by this means to sing to a
high pitch EE, I, EE, I, keeping the pitch steady

Sec. V.

VOWELS.

(for which purpose it will be found best to check
the sound by an instrument with sustained tones) ,
and making the vowels long, but the change from
one to another rapid, without any silence. Feel
by grasping the throat that the chief change takes
place there. It is worth while practising this
exercise frequently, and learning to sing I up to
any pitch, so that in singing an ascending passage
written for EE, but taken as I, the quality of tone
may remain recognisably the same. The quality
of tone for I is almost always better than for EE,
and even Italians and Frenchmen, who do not
know I in speaking, will be found to fall naturally
into I in singing. Although in singing it becomes
necessary to confuse EE, I, in order to obtain good
qualities of tone, this must never be done in
speaking, Exs. 24 and b, must be practised with
care for correct speaking. The important modifi-
cations by consonants are exemplified under EE. I,
in the Glossic Index.

I'. In unaccented syllables the I is sometimes
still more obscured, by altering the position of the
part of the tongue between the high back and the
low point, so as to make it more straight. This is
effected by bringing the point of the tongue up
nearly into the position of diagram 2, with the
back as high as in diagram 1. This produces the
high-mixed-wide vowel I', an important vowel in
Welsh, where it occurs in accented syllables, and
is written u or y, but for the languages here con-
sidered no pains need be taken to separate I' from
I. See Ex. 44 under -y, -ly, -ty, and Ex. 45 under
e-, bi-, di-, and also Glossic Index under I and I'.

HE. Having learned to sing EE, I, or rather I,
well at all pitches, then attempt to sing them with
the lips brought into the high-round position,
diagram 12. Observe that it becomes quite im-
possible to maintain the same quality of tone, and
that an exertion is required in the larynx to
maintain the same pitch. Take I at any pitch
and bring the lips gradually into the high-round

form ; observe the corresponding change of sound,
which will somewhat resemble an eu diphthongal
sound, as it begins with i and goes off into a sound
not far off oo, but quite distinct from oo if the
I-position of the tongue is well maintained. Then
make the change rapidly, keeping the tongue and
throat fixed, and maintaining pitch by an effort,
while rapidly changing from perfectly open mouth
to the high-round form. The new vowel sound
thus produced is UE, or the French ti, which is
often considered a great difficulty to Englishmen,
but thus produced it is very easy. The speaker
and singer should practice this exercise till he can
reach the UE-position without the slightest diffi-
culty. For singing French songs intelligibly, this
vowel is of great importance, but so large a number
of Germans have the bad habit of not distinguish-
ing UE from either EE or I, that the singer
would be intelligible, although he might appear
vulgar to an educated German, if he used I for
UE on all occasions in German songs only. There
is a slight difference in the best central German
and French pronunciations of this vowel, which
may be disregarded, as unimportant. See Exs.
48 and 50. Practise first, however, singing the
scale upon I-UE. Observe that UE is not quite
so easy to sing on a high pitch as I, and that when
I falls naturally into EE, UE falls into a related
sound, the high-front-round vowel, which there is
no occasion to notice further. At a low pitch UE
is softer and easier to sing than I, and has a better
quality of tone

EE, I, UE. Having clearly ascertained the
exact positions for EE, I, UE, take any simple air
with which you are familiar and sing it, first with
every note to EE, as nearly as possible, then with
every note to I, and lastly with every note to UE,
and note the difference in the quality of tone
produced, the sole means of distinguishing the
vowels. To make this clearer, sing the measures
alternately to I and UE, and observe the instant
change of quality.

VOWELS.

Sec. V.

2. Mid-Front Oral Vowels

I. II. III. IV.

Primary. Wide. Round. Wide-round.
Symbols AI E eo oe

Diagrams 2, 9 & 11. 2, 9 & 11. 2, 9 & 13. 2, 9 & 13.

The front of the tongue is "mid," diagram 2,
not nearly so much raised as for the high-front
vowels, diagram 1. The point of the tongue is
more raised, so as to be seen over the top of the
lower teeth, and hence there is by no means such a
sudden fall from the front to point. Past the
point, on each side, the lower surface of the tongue
rests on the lower teeth, and proceeding backwards,
presses again the side teeth, but the pressure does
not extend higher than the upper gums. See
diagram 9, and compare with diagram 8. The
consequence is that the probe can be made to enter
much further than for high-front vowels, in my
own case about two inches, or two inches and a
sixteenth. The passage leading from the pharynx
is not so narrowed, and it becomes much broader
in passing over the front of the tongue, and does
not widen vertically although it widens horizon-
tally as it approaches the mouth.

AI. The throat being somewhat constrained,
the lips open, diagram 11, and the pitch a little
above the middle of the voice, the vowel AI
results. In producing this vowel Englishmen
have to fight against the tendency to raise the
position of the tongue mechanically, not by its
own muscles, but rather by raising the lower jaw,
which carries the tongue with it more or less
towards the Ai^A-front position almost uncon-
sciously. This must not be allowed. The singer
must practise maintaining the position of the jaw
and tongue steadily during the whole continuance
of the sound, otherwise he will alter the quality of
his tone, while maintaining his pitch, and produce
a diphthongal effect, which, however much it may
be tolerated in English speaking, is simply
execrable in German, Italian, and French, whether
for singing or speaking. The singer, therefore,

should practise this vowel before his mirror, till he
can maintain the single vowel quality AI for a full
second of time, or more. Some Englishmen,
especially Londoners, and inhabitants of the East
Coast, have such an inveterate habit of passing
from the Al-position to, or at least towards the
I-position, that they will hardly dwell an
appreciable length of time on the first element, and
thus produce to other ears the effect of a diphthong,
so that the Eastern "they, bait, pain" sounds to
other persons like " thy, bite, pine." They do not
so sound to the Eastern speaker, because he pro-
nounces the three latter words with a different
diphthong, and never confounds them. This will
be considered hereafter. At present, it is perfectly
unobjectionable in any English word to avoid this
tendency to end AI with I, and utterly objection-
able in any foreign word to indulge in such a
tendency. See Ex. 3.

E. Now sing the scale on AI. Observe that
AI cannot be sung quite so easily on a high pitch
as EE or I, and that when the middle pitch of the
voice is passed, the quality of the tone becomes
more and more reedy and harsh. To my own ears,
although AI can be sung to a lower pitch than I,
its quality of tone is much more disagreeable. Its
recurrence is always unpleasantly felt in all
singing. It is, however, greatly improved by
lowering the larynx and widening the pharynx,
precisely as in passing from EE to I. As the
larynx naturally falls with the pitch, there is also
a tendency to improve the AI quality in the low
notes by this means. On indulging this tendency
we change AI into E. Practise singing AI, E,
AI, E, grasping the throat lightly, and observe
the tightening for AI and the relaxation for E
evident, though not so strongly marked as for
EE, I and the improvement in the quality of
tone when you pass from AI to E. Then sing the
scale down on AI till it insensibly changes into E,
and having reached E sing up on E, taking care to
resist the tendency of falling into AI. Observe
that E can be sung to a high tone more easily tha'

Sec. V

BOWELS.

AI to a low tone. In English speaking AI is
generally long, and E is short, but length of
vowel depends on length of note only in singing,
hence both must be sung long and both short, and
in singing English it is quite intelligible if E is
always used for AI. This use of E has also the
advantage of preventing the bad tendency to end in
I, except among inhabitants of the North East Coast.
For English singers it is, therefore, permissible.
Long E does occur in English in there, dare, fair,
but never except before vocal R. In German the
change is of no consequence, nor even in Italian
and French, provided the open e of these languages
be taken as the low-front vowel ae, to be presently
considered. See Ex. I2b and 25, and Glossic Index
under AI, E.

EO, OE. Having secured AI, E, endeavour to
sing them, kept strictly separate as primary and
wide, with the lips in the mid-round position,
diagram 13. Observe that the quality of tone
immediately changes, and approaches the sound
of TIE on the one hand and of U on the other. It
should, however, be carefully distinguished from
both. When AI is thus rounded it becomes EO,
the fine French eu in feu, the German long o in
schon. When E is thus rounded it becomes OE,
the broad French eu in veuf, and German short o
in bocke, konnte. Here again the distinction
between EO and OE is constantly ignored. Some
French and German writers do not remark it, and
there is certainly no very strong distinction in
ordinary speech. Singers seem to take whichever
is most easy at the pitch at which they are singing.
Hence although the speaker should endeavour to
preserve the distinction which is observed by all
careful speakers of German and French (the
sounds are both unknown in Italian), yet the
singer is at liberty to sing EO at the higher and
OE at the middle and lower pitches, in singing the
same word He will remain perfectly intelligible.
Practically then the mid- front position yields only
two genera of vowels E, OE each with two
species carefully observed in speech. Any change

to U or UU is quite inadmissible. But in nearly
two-thirds of Germany the middle and lower
classes have the habit of using ai, ae for eo, oe
so that Englishmen can treat them so, or as ai, e
without danger of being misunderstood in
Germany. In France such a pronunciation would
lead to interminable mistakes.

I, UE ; E, OE. Now having got I, UE ; E, OE,
sing a simple air, or even a bar, or merely a chord
d, m, s, d 1 , taken at different pitches, first to I and
then to E ; to I and UE ; to E and OE ; to UE
and OE, and observe the changes of quality of
tone. Sing on a single note the whole four vowels
I, E, UE, OE, in various orders, as i ue e oe ;
i ue oe e, i e ue oe, i e oe ue, i oe ue e, i oe e ue,
ue i e oe, ue i oe e, ue e i oe, ue e oe i, and so on ; the
object being to hit the great differences of quality
with ease and certainty, at different pitches.
Singing thus without consonants will lead to
taking the vowels more clearly and accurately.
See Ex. 48 and 50 for ue, eo, oe.

3. Low-Front Oral Vowels.

I. II. III. IV.

Primary. Wide. Round. Wide-round.
Symbols ae. A. f f

Diags. 3,10&11. 3,10&11. 3,10&H. 3,10&14.

As the vowel A is better known in English than
the vowel AE, except by those speakers who use
ae for e, it is better to begin this series with the
wide vowel A.

A. The tongue is altogether very low, but its
front is perceptibly higher than its point, which
still remains just above the lower teeth. The
depression of the tongue is produced by removing
it altogether from the upper teeth, as shewn in
diagram 10, where the upper surface of the tongue
has no connection with the palate or teeth, compare
diagrams 8 and 9. The consequence is that there
is a low flat passage above the tongue, with two

VOWELS.

Sec. V

side passages around it, and a comparatively wide
passage from the pharynx. The probe in my own
case will enter nearly two inches and a half into
the mouth. The round or knoh end of the knitting
needle used as a probe should now be employed,
as there is so little obstruction, that the soft palate
will be reached and irritated by the point. Keep
the pharynx low and unconstricted, and sing. The
result is the received English A, or a in bat
lengthened. In the town of Bath, this long sound
occurs in speech, for they call it there Ba-th and
not Baa-th, as in received speech. In the whole of
the South of England, and even as high as
Shropshire, and probably right through to Norfolk,
the short form of this vowel is heard, varying,
however, with a. In Caithness, Northumberland,
Cumberland, and Westmorland cC verging towards
aa, is more common, in Yorkshire, and Lancashire
the older vowel aa is retained, and in South
Scotland even ah is used. Tt is, however, not
permissible for a singer to substitute aa for a
notwithstanding the extreme pleasantness of aa,
and the extreme unpleasantness of , because the
effect is purely provincial. But as will be seen
hereafter (p. 34), he may use #', which is much
more agreeable than a. See Exs. I2e and 25.

A, AE. The quality of A when lengthened has
a very strong resemblance to the bleat of an old
ewe, and when the throat is constricted to produce
AE, as may be felt on grasping it lightly,
the quality of tone as nearly resembles the
answering bleat of the lamb. It is true that
the bleat involves another element (namely, a
peculiar periodic interruption in the glottis, which
occurs in Arabic speech, and need not be further
considered), but the vowels heard resemble A, AE
nearer than any other that I know, and I have
listened to sheep and lambs most attentively with
a view to testing this resemblance. The similarity
of AE to A is shewn by the frequent pronunciation
of " thank, bank, cab" as thaengk, baengk, kaeb,a,n(i
then as thengk, bengk, keb ; by the usual confusion
that foreigners make of our A with their AE, and

by the frequent substitution of A for AE (which
is just the reverse) in Scotch. Many English
speakers, almost all those from the provinces use
AE for E in short syllables, and this pronunciation
is recommended by so high an authority as Mr.
Melville Bell, so that in the Short Key in Section
III., p. 12, I have given it as an alternative in
net ing, naet'ing for " netting." Hence in AE, A
we have a primary and wide vowel with the same
position which must not be interchanged in sing-
ing. The use of a for E is Scotch, and quite
inadmissible. The most that can be done to
improve quality of tone in singing, is to avoid AE
altogether, replacing it uniformly by E, and
then to employ A' for A. But for foreign
languages this is not sufficient. AI and AE are
sharply distinguished both when long and short in
French and Italian, and even ambiguities of mean-
ing arise from confusing them. Hence all singers
should carefully learn to distinguish them. But
even in German, Italian, and French, the use of E
for AE in short syllables would be intelligible,
though E would sound '* thin," and the use of A
for AE in long syllables would be intelligible,
though it would sound broad and coarse. See
Ex. 25, where ae may be used for e, and should be
so used as an exercise. For AE see Exs. 48, 49, 50.
The rounded form of these vowels can be easily
produced, by using the low -round form, diagram 14,
with slightly protruded lips, but they need not be
studied, as they do not occur in the languages here
considered.

5. Mid-Mixed. 6. Low-Mixea. 8. Mid-Back.
9. Low-Back Oral Vowels.

I. II. III. IV.

Primary. Wide. Round. Wide-round.

5. Mid-Mixed Oral Vowels.
Symbols U. a'. f f

Diagrams 4 & 11. 4 & 11

Sec. V. VOWELS.

6. Low-Mixed Oral Vowel.
Symbols f e' f f

Diagrams

9. Mid-Sack Oral Vowels.
Symbols uu AA OA AO

Diagrams 6 & 11. 6 & 11. 6 & 13. 6 & 13.

9. Low- Back Oral Vowels.
Symbols f ah AU O

Diagrams 7 & 11. 7 & 11. 7 & 14. 7 & 14.

The mixed vowel positions are so inadequately
represented in the languages here considered, that
it seems best to take the mid-mixed form in con-
junction with the mid-back series, which is very
fully developed, and also with the low-back series,
into which the latter is apt to fall.

For the back vowels the tongue never rises so
high as for the front vowels. Even the highest
back position (diagram 5) is scarcely higher than
for the lowest front position (diagram 3), and
hence the slope of the tongue for the mid and low
back positions (diagrams 6 and 7) is scarcely more
than for the mid-mixed positions (diagram 4).
The mid-mixed position (diagram 4) is, however,
higher than the mid-back position (diagram 6),
and hence the quality of tone is much finer. The
great change of position of the tongue in passing
from the A position (diagram 3) to the AA position
(diagram 6) is well seen in the mirror, on singing
I, E, A, AA. The tongue seems entirely to dis-
appear for A A, and the arches of the palate and
uvula, which were previously quite invisible, come
well into sight, though the tongue is still too high
for me to see the tip end of my own uvula, which
.is naturally rather long. If on the other hand the
tongue is raised to the mid-mixed (diagram 4)
position, only a small portion of the arch on each
side of the uvula becomes visible, whereas if it
falls to the low-back (diagram 7) position tho
whole uvula is quite exposed, and the back wall of

the pharynx can be easily seen.* In all three
cases the tongue is so low that the probe can reach
the uvula, and even be inserted under the arch, but
as the probe then tends to produce nausea, and the
distance of the tongue from the palate is perfectly
visible, this experiment need not be tried.

AA, AH, A'. Begin experiments with the mid-
back wide which gives the extremely pleasant and
musical quality of AA. The widening of the
throat is not felt as anything but an easy position.
The vowel can be sung and should be sung at all
pitches, and the learner should watch his tongue
and jaw in the mirror, and take care that they do
not move as the pitch alters. He will observe that
for deep tones the tongue at least has a tendency
to fall and become completely hidden, assuming
the low-back position (diagram 7) and giving the
broad vowel AH, frequently used in South Scotch
and French, and often replacing AA altogether with
some German speakers. In high tones, on the
contrary, the tongue has a tendency to rise to tho
mid-mixed position (diagram 4), giving the fine
thin vowel sound of A', much used by delicate
English speakers, especially ladies, in such words
as " ass, pass, staff, laugh, path, bath, plant, com-
mand," in place of AA, and common now in Paris,
where the sounds which writers on pronunciation
generally assume to be AA, are divided among A'
and AH. Even in Italian there is rather a
tendency to use A' in place of AA, but all approach
to AH is held to be odious, as it is in refined
English speaking. Singing is, however, another

* This circumstance has often been of use to me when I
wished to examine either my own throat or another
person's throat to see if it were inflamed or relaxed. It is
well known that there is a great difficulty in inducing 1
patients, especially children, to keep the tongue down, and
that they involuntarily resist the action of the spoon used to
depress it. Merely ask them to open their mouths and say
AU, and the tongue disappears as by magic, revealing the
whole inside of the mouth. But as the patient will then be
breathing strongly into the observer's face, and his breath
may be infectious (as in scarlet fever, diphtheria, putrid sore
throat, &c. ) the observer should carefully screen his own face
and nose with his hand while the patient is under examin-
ation. Safety from infection is not secured by simply
holding the breath.

VOWELS.

Sec. V.

affair. It will be fcmnd that the attempt to sing
pure A A at all pitches results in much worse
musical effects than are produced by the use of A'
in the higher, AA in the middle, and AH in the
lower notes of the voice, and as these sounds may
be all employed in any word without danger of
xnintelligibility in any of the four languages here
considered, the singer is at perfect liberty to adapt
his pronunciation to his musical wants. But he
should do it consciously, and know why and how
he does it, and be scrupulous to avoid it in speech,
where the same causes (great diversities of pitch)
do not exist, and where the requirements of pro-
nunciation are more severe.

On singing in succession and to the same middle
pitch ah, act, a , a and a, #', aa, a h, it will be felt
that they form a progressive series, so closely
related one to the other, that it is sometimes
difficult to say where one begins and the other
ends But if we skip over any one and sing a, aa,
a J ah, and still more a ah, the change is felt to be
very great indeed. No singer should be guilty of
the fault of using the bad vowel quality a for the
good vowel quantity a', or aa, saying glas ask staf
la/path ior ala's a'sk sta'f laf bath or glaas aask
staaf laaf baath (the vowel being long or short
according to the length of the note), but no singer
would offend who said ha'nd pa't ba'd for hand pat
dad, although the sounds haand paat baad would be
quite intolerable. This allows a way for the singer
out of a great difficulty. The vowel a, as already
remarked (p. 32 , is disagreeable for the singer,
but a' is very agreeable. Hence he should practise
every word given with A in the Grlossic Index,
first with A and then with A' and then with AA,
watch for the difference of effect, watch the
position of his tongue by his mirror, and try to
hit upon A' without falling into AA. See also
Exs. 12c and 25, which contain words that may be
pronounced with either A' or AA, contrasted with
words containing AI and E.

TT, UTJ. Now sing AA to a middle pitch, and
grasping the throat lightly, tighten it so as to

narrow the throat as usual, and thus modify its
resonance. The effect is quite extraordinary. The
beautiful quality of AA disappears as if by magic,
and a dull obscure sound results, which is not bad
to sing upon, but is nothing like so musical as
AA. This is UU, a sound much used in the
provinces and in Scotland, and even recommended
for general use by Mr. Melville Bell, for u in cut.
But the finer sound which I prefer, and which I
hear from most educated Southerners is U, which
is obtained from A' in the same way as UU from
A A (by narrowing the pharynx), and bears to UU
the same relation as A' to AA, so far as the
position is concerned, but to my own feeling the
difference between U and UU is almost that
between A' and AH. There is, however, a sound
of this character formed by narrowing the pharynx
while saying AH. This (written ua in Glossic)
occurs at most as a rare provincial sound, and
hence need not be further considered.

U, U', E'. Speaker* who use UU in accented
syllables, generally fine off the sound to U in
unaccented syllables, as huuzbund, maen shuun
maenshun, for " husband, men shun mention."
And those who use U also fine it off by raising the
back of the tongue to the high-back position, pro
ducing U', which will be described presently.
Thus it seems to Mr. Melville Bell, that I myself
pronounce the words last written as huz'bu'nd,
men shun men~shu'n, which is altogether finer than
the other, because the tongue is one stage higher
for each vowel. This is, however, entirely a
matter of taste. For the singer, however, I am
inclined to think that the second set of sounds is
preferable. In every case the vowels UU, U, U'
are very important to the singer, and require care-
ful study. As a general rule U, U' need not be
distinguished, and the danger of using UU is its
confusion with OA when short and stopped bv a
consonant. Sing all the words in Ex. lie, and under
U in the Glossic Index, both with U and with UU,
but at the same pitch, throughout the scale, till the
ear becomes familiar with the difference of quality

Sec. V.

VOWELS.

In doing this it will be, of course, necessary to
lengthen the vowels, which are supposed to he
always short in speech, although in received
English U or UU are always lengthened when
before vocal R, which usually totally disappears.
The mid-mixed vowel also often falls into a low-
mixed vowel E' before this vocal R' by dropping
the tongue very nearly to the low-back position,
but keeping it rather more forward in the mouth.
See the account of vocal R below.

AO. Now sing AA to a middle pitch, and
suddenly bring the lips into the mid-round posi-
tion, diagram 13. The result is the round vowel
AO, which has a very splendid quality, and is
quite as musical as AA, and has in some respects
even a better quality of tone for singers. Practice
AA, AO, AA, AO, on the same breath till the
effect comes clearly. This sound is the common
short o in " cot, knot " kaot, naot, in many of our
provinces, the regular short o in Germany, as
in "holtz" Juiolts, the open o both long and
short in Italian, as " poco, sciocco " pao'koa
shyaok-koa, the common short o in French, as in
" homme, corps" aom, kaor'. See Exs. 48, 49, 50,
and also Ex. 9e should now be sung with ao for ca,
In received English it occurs only as long before
vocal R, as in u more, sore, oar," which in English
Glossicare written moa'r, soa-r, oa f r, with the vocal
r, which effects the change. See Exs. 20 and 28.
The true sound of these syllables is rather com-
plicated, arid will be explained in Section VI.

ATI, 0. Very closely related to AO is our own
peculiar English vowel 0, which is not found in
the received pronunciation of any continental
language, although it may be heard in North
Germany. This is formed from AH by bringing
the lips into the low-round form (diagram 14 ,
being careful to bring the inner parts of the
corners of the lips a little more closely together
than could be shewn in the diagram, and to
advance the whole lips slightly. This vowel is so
common in English that English people have no
difficulty in speaking it short, although they often

find much difficulty in lengthening it. Grasp the
throat lightly, and sing on the words "on, cot,
pod, stock," to long notes of middle pitch, and
take care that no tightening is felt by the hand,
that is, that there is no constriction of the
pharynx. Then sing the same vowels with a con-
striction of the pharynx, which is easily felt, and
the result will be " awn, caught, pawed, stalk "
aun, kaut, paud, stauk, that is, the vowel AU is
generated. The singer must practice singing these
words in succession to the same note, with his
hand on his throat, as on aun, kot kaut, pod paud,
stok stauk, and feel the difference in the action of
the throat as well as the difference of the sound, if
he wishes to make the distinction clear. In
endeavouring to avoid aun kaut, &c., he must be
careful to avoid falling into either aon, kaot, &c.,
or oan, koat, &c. There is one word in which the
distinction is of great importance. No singer of
hymns should allow God to sound as either gaud
or goad, which have such different meanings. It
is much better to use gaod for God than either of
the two other sounds, because gaod has no other
possible meaning in English. The great real
difference between AU, 0, which are both utterly
strange to German, Italian, and French, is shewn
by the attempts of foreigners to pronounce them.
They generally make the AU into AA, or at best
AH ; and the almost always into AO. See them
contrasted in Ex. 27.

OA, AO. Sing UU to a long note of middle
pitch, and bring the lips into the mid- round posi-
tion (diagram 14), the result is the common OA in
road. Now many English speakers, especially
most of those in the South, educated or un-
educated, have such a tendency to raise the back
of the tongue, or else to contract the lips to the
high round position (diagram 12) during the time
that they fancy they are saying OA, that they
practically begin with OA and insensibly end in
OO. This is similar to the tendency already
mentioned to end AI in I. Some speakers,
especially the less educated, fly off at once from

VOWELS.

Sec. V.

the OA into 00, and say almost ou for oa. This
will be again referred to in Section VI. Singers
should be extremely careful to guard against both
practices. The change of quality from OA to OO
is generally for the worse, especially at high
pitches, so that the merely musical effect is injured.
Practise singing OA up and down the scale,
watching carefully in the mirror to see that the
jaw does not ascend or the lips close as the sound
continues. This is an important exercise. Such
words as roam, room, are useful to sing. Observe
whether when you finish the word roam, you utter
the same sound as when you finish the word room.
A list of such words is given in Ex. 30. It is
much better to use AO for OA throughout
(although this is not permissible in speech) than to
sing OA with a rapid falling off into 00 In low
pitches AO will always be found preferable to the
singer. In some words there is a tendency to con-
fuse OA with UU, and people often say haul for
hoal, " whole." In singing there is not so much
tendency to do so, but Ex. 27, where words like
" sawed, sowed, sod, sud," satrd, soa'd, sod, sud or
suud are compared, will be found useful in this
respect.

The distinction between OA, AO is as important
in Italian and French, as our distinction between
OA, AU. As an Englishman would never con-
fuse "coat" koa't with "caught" kau't, so an
Italian would never confuse koa'ltoa " cultivated "
with kao-ltoa " gathered," though both are spelled
" colto." See Ex. 49, and Section XIV., No. II.,
Alphabetical Key to Italian. The Italian OA is
somewhat nearer 00 than the English sound, but
this is a distinction which need not be attended to.

U UU. A' AA AH. OA AO AU 0. The series
of vowels

Primary. Wide. Eound. Round-wide.
Mid-mixed U A'

Mid-back UU AA OA AO

Low-back AH AU

are extremely important and should be well dis-
tinguished. They can all be sung with tolerable

ease and good effect at any pitch. Generally,
however, U will suit high, and UU middle or low
pitches ; A' suits high, AA middle, and AH low
pitches ; OA, AO are both better at high and
middle pitches, and AU, at low pitches. But
care must be taken never to use AU for OA even
at low pitches, where at most OA may fall into AO

7. High-back Oral Vowels.
I. II. III. IV.

Primary. Wide. Round. High-round.
Symbols uu' u' 00 UO.

Diagrams 5 & 11. 5 & 11. 5 & 12. 5 & 12.

00. The rounded forms being very familiar
and the un-rounded forms little known in English,
it is best to begin with the rounded forms. The
lips are put into the high-round position, diag. 12,
which may be much closer than in the diagram.
By this means the whole interior of the mouth is
concealed, so that the proper high-back position of
the tongue (diagram 5) can only be felt by the
probe. There is as wide a passage between the
back of the tongue and the uvula, as in diag. 2,
but the tongue is lower for diag. 5, and its upper
part reaches just as high as the top of the arches
of the palate. On inserting the probe and passing
it over the upper surface of the tongue, you should
feel that the tongue is quite below the upper teeth,
even at the side, though in contact with the lower
teeth. The probe can be inserted fully two inches
and a half in my own case, but there is generally a
little difficulty from the resistance of the tongue,
which does not allow the probe to be properly
directed. In feeling the distance it is better to
insert the knob end of the knitting-needle so as
not to irritate the soft palate too much. But in
some respects the position of the tongue is not of
much consequence provided it be not higher than
the high-back position. Even a mid-back, or
low-back tongue with the proper high round form
of the lips, will produce a vowel- quality which all
hearers will at first take for 00. But the high-

Sec. V.

VOWELS.

back 00 is the genuine fine sound of English and
Italian speakers, and should be always used. Some
Germans use a thicker, deeper, hollower, low-back
00 ; and in Sweden they have a mid back 00,
which bears a considerable resemblance to OA, and
is not unlike the Italian form of OA ; the lips
remain in the high-round position for all of these
forms, which, however, need not be further studied
here. On the contrary, the high-back 00 must be
carefully studied, and its effect must be dis-
tinguished from OA on the one hand, and UE on
the other.

UE, UU', 00. The vowel UE differs from the
vowel OO merely by having the high- front instead
of high-back position of the tongue, and there
is much provincial tendency in England to
substitute UE, or some very similar vowels (which
will not be here particularised) in place of 00.
This arises from a bad habit of raising the tongue
to the I position before closing the lips for 00,
which is not at all uncommon, even when the
tongue is subsequently dropped to its proper place.
This error must be carefully avoided by singers, as
it probably generates the provincial peculiarities
of Norfolk, Suffolk, and Devonshire. The import-
ant direction to those who have a tendency to say
UE is, " Keep the tongue down," and they should
be made to feel with the probe that their tongue
has come up to the high-front or I position. It is
very much better for such singers at first to sink
the tongue into the mid-back or OA position, or
even the low-back or AU position, than to raise it
to the UE position. In many parts of South
Lancashire, of Derbyshire, and of Cumberland,
speakers have a habit of beginning their 00 with
the mouth wide open (producing the very peculiar
vowel MW'), but they rapidly close the mouth as
they go on. The result (which may be written 60}
is here merely mentioned by way of caution, and
the bad habit which generates it must be most
sedulously avoided. Singers who are in the habit
of using 60 must be made to bring their lips into
the position for oo before uttering the vowel.

UO. Sing 00 up and down the scale. 00 will
be found very difficult indeed to take in the upper
notes of the voice. Leaving this difficulty for the
moment, grasp the throat lightly as usual, and,
singing 00 at an easy pitch, widen the pharynx,
which will be felt by a relaxing or falling in of the
muscles The result is the vowel UO as heard in
" pull " puol~, distinct from " pool " poo- 1. Sing in
succession 00, UO, 00, UO, and feel the musclei
of the throat tighten as you pass from UO to 00.
This contrast of OO, UO should be well felt, and
easily made, for it is especially useful to the singer
(see Ex. 32). And it is also very necessary to dis-
tinguish UO from UU. There does not seem
much resemblance to a Southener between " dull "
and " pull," dul or duul and puol, but many pro-
vincials reverse the sounds, and say duo I, puul, and
others are so accustomed to UO that they cannot
learn UU. Yet for UO the lips are closely
rounded, diag. 12, and for UU they ought to be
quite open, diag. 11. The transitional form, which
may be written u, occurs in Lancashire, Derby-
shire, and probably Cheshire and Northumberland.
It consists in giving the tongue a mid-back position,
and rounding the lips as for oo. It is very difficult
for a Southern ear at times to say whether u is uu
or uo, for it sounds like both, and is neither. But
as it is really a bad sound of uo, and much less
musical, the singer should always endeavour to
obtain a pure uo. There is also a possibility of
imitating the sound of UO with open lips, which
may sometimes prove of use to the singer,
especially when he wishes to sing 00 or UO on a
high note, and will therefore be explained
presently. But first observe, by singing up the
scale, that UO will give a much better quality of
tone in the high notes than 00, just as the vowel
I gave better low notes than EE, and that hence as
UO would not be distinguished in a singing voice
from 00 indeed it is often confounded with it in
the speaking voice the singer will find it as great
an advantage to use UO generally (that is, for both
oo and uo} as he found it to use the sound of I
generally (that is, for both ee and i) . See p. 28.

VOWELS.

Sec. V

U'. Next, while singing the wide UO at an easy
pitch, suddenly opon the mouth quite wide, as in
diag. 11. The whole character of the tone is
changed, and it seems to lose all its previous
roundness and "become ohscure, not unlike U, but
something finer. This is U', a very useful vowel
to the English singer, and which he should there-
fore cultivate. Where the speaker, for accented
syllables, would use U or even UU, this vowel U'
may be sung, especially before /, m, n, in those
indistinctly spoken unaccented syllables, to which
singers have to give a clear full note. More
of this when treating of I, m, n. But at present
the exercise of singing UO, U', UO, U' must be
taken carefully, and the difficulty of bringing out
a good ringing tone on U', when the conditions of
resonance are so suddenly altered, must be got over
by patient trial and practice. By this sudden
revelation of the inside of the mouth the true
position of the tongue can be made visible, and, if
the tongue were too low, we should get out more of
an UU sound, while, if it were too high, we should
approach an I' sound. When the sound of U' has
once been safely hit, the singer should diligently
practise it on all parts of the scale, with sustained,
forte, crescendo, and diminuendo notes, remember-
ing that he has to make use of it in overcoming
future difficulties.

UO'. While singing U' with the mouth open,
endeavour to change to UO without closing the lips.
An imitation of UO can be effected thus. The
central parts of each lip are kept wide apart, but
the corners are brought much nearer, and the
insides of the lips are made visible, till the
opening of the mouth assumes an oblong shape,
longest from top to bottom, so that the front teeth
are well seen. At the same time there is a
muscular contraction of the arch of the palate,
which is felt but cannot be seen, as it is so much
concealed by the tongue. This double rounding,
external of a peculiar kind (not shewn in any of
the above diagrams, because irregular), and
internal of the passage leading from the throat to

the mouth, seems in some respect to serve the
former purpose of partly closing the mouth by the
lips only. The pharynx is narrowed for high
notes, and widened for low notes. The vowel is
neither precisely 00 nor UO, but is sufficiently
like both to pass in singing, and may be written
UO' or MO, and called " acute UO," for con-
venience. The advantage of this sound to the
singer, indicated by the acute accent, is that he
can sing on it at the highest pitches of his voice,
and even in falsetto, with a much better quality of
tone than he could produce with either the proper
00 or UO positions. This imitation is therefore
recommended to the attention of the singer, as a
means of overcoming a very serious difficulty. It
was suggested to me by observing parrots, who can
say "Poll," although they have no lips at all.
They seem to produce the labial effect by means of
a back membrane, which answers the purpose of
our soft palate.

The Musical Vowel Scale. In the Systematic
Arrangement, p. 16, A, the vowels just considered
were arranged in a systematic table according to
the positions of the tongue by which the resonance
that produced them was generated. In conclusion
it seems best to arrange them in a kind of musical
scale, descending from EE to UO and then gradu-
ally rising again through the indistinct forms. The
meaning of this is that the first vowels on the list are
most easily produced at a high pitch, and that this
pitch gradually lowers from EE to UO, and then
again gradually rises to UE, which approaches
nearly to the pitch of EE, and thus completes the
circle, EE, AA, UO, UE, EE. If only the posi-
tions be assumed, and flatus be driven through the
mouth instead of voice, the scalar nature of the
arrangement will be still better felt. Each form
is here provided with a key word to its left, and on
the right is placed the singing substitute, which
may be used for those on to which it is bracketed,
according to the intimations given in the above
discussion, with a reference to the page and column
(a left hand, b right hand) in which the explanations
will be found. See also the G-lossic Index.

Sec. V

VOWELS.

MUSICAL VOWEL SCALE.

2&Spoken Vowels. 10 Sung Substitutes.

Page 280. beet. EE \

280. bit. I I. Page 280.

290. witty. i'

Page 300. b0it. AI

305. bet. E [ E. Page 305.

, 320. bete. F. ae

Page 315. b0t.

A 0' Page 335.

Page 335. ask (thin E.F.I.) a'
335. lah ! AA [ AA. Page 335.

, 335. Idche. F. ah

Page 350. gnawed. AU
350. nod. [ AU. Page 350.

355. no. I. AO

Page 355. known. OA OA. Page 355.

r SS - **

Page 340. cwt (broad E) uu \
345. herd(occ-E) ,'
340. wit (thin B) U j U> ^ a & e346 -

380. ide0

Page 310. veui. F. oe

310. feu. F. eo

oe. Page 310.

Page 290. \m. F. ue ue. Page 370.

V. French Orinasal Vowels or Nasals.

1. 2. 3. 4.

Symbols AEN' AHN' OAN' OEN'
Diagrams 3, 11, 22. 7, 11, 22. 6, 13, 22. 2,13,22.

N'. In the series of vowels just described the
nasal passage was supposed to be entirely cut off
by the pressure of the uvula against the back wall
of the pharynx. Section IV, pp. 205 to 220. In
the present series the voice has to pass through
both the nose and the mouth, p. 210. This opening
of the nasal passage necessarily modifies the posi-
tion of the tongue, so that it becomes impossible
to refer the orinasal precisely to corresponding
oral vowels. But this can be done with sufficient
accuracy for the purposes of notation and instruc-
tion. The difficulty consists in obtaining the right
amount of nasalisation. For French the nasality
greatly exceeds that used for English by some
Americans, or that given to German by Bavarian
peasants. Probably one cause is that the passage
behind the uvula v diag. 22) is very much larger for
French nasality. The resonance in the nasal
cavities, however, varies much, and cannot be
denned, so that the following directions require to
be supplemented by hearing many examples of the
sounds (see Glossic Index) pronounced by different
natives, male and female, young and old, as well as
men in their prime. The letter N' after the Glossic
vowel mark signifies that the nose passage is fully
open, as in diagrams 22, 23, 24, but that the passage
through the mouth is not obstructed, as it is in
those diagrams. Observe the apostrophe. N and
N' differ in this respect among others, that for N
the voice passes through the nose only, and for N'
through both nose and mouth. The oral passage is
to be made as nearly as possible in the same way
as for the vowel preceding N" . Hence N' does not
indicate any sound, but a mode of modifying
another sound, and the whole of each symbol, such
as AEN', must be considered to represent a single
orinasal vowel. What the English speaker haa
especially to guard against is any confusion of the
" direction " N' with the consonant NG. The

VOWELS.

5. V.

simple sound AEN' and the combination of sounds
AENG, which Germans are apt to use, are, as will
be seen, totally different in construction. The
oral vowels ae, ah, oa, oe to which the four nasals
aeri , ahn', oan', oen' are here referred are those to
which French writers refer them. To Englishmen
they seem to be rather nasalisations of a, o, oa, u,
so that they might be more simply written an', on' ,
oan , un'. But as three of these oral vowels, a, o, u,
do not exist in French, it is better to follow the
feeling of French phonetists.

AEN'. Sing AE and, while singing, open and
close the nasal passage several times in succession,
producing alternately the French vowels in " bete,
vin," baet, vaehri . The whole quality of the voice
is changed, and an Englishman will find it difficult
without much practice to produce anything like a
good musical quality of tone out of it, especially
to give it a soft effect without a disagreeable
twang, and to hit it with ease and certainty when
singing. The practice AE, AEN', AE, AEN', &c.,
will be very good for this purpose. The vowel
bears a certain resemblance to the syllable any,
which would be understood, but would be quietly
thought hideous. That the sound really passes
through both the mouth and nose, and that the
opening through the mouth is even more important
than the passage through the nose, is well shewn
by closing the mouth with one hand, and pinching
the front nostrils with the fingers of the other
hand. When this is done simultaneously the
whole sound rapidly ceases ; not immediately, for
the air in the mouth and nose will resound till the
air becomes too condensed. When the mouth only
is covered, there is only a dull nasal hum. When
the nostrils only are pinched, there still remains a
distinct though slightly altered sound of AEN',
shewing that resonance in the nose can nearly
quite as well effect the result as resonance through
the nose.

AHN'. Sing AH, and, while singing, open and
close the nasal passage alternately, producing

alternately the French vowels in lache, an, lahsh,
ahn'. Practise AH, AHN', AH, AHN' till the
sound is reached with certainty. Looking in the
mirror, observe the motion of the uvula in passing
from the oral to the orinasal vowel, which can be
well seen in this case. Then sing AEN', AHN'
alternately, and observe in the mirror that the
tongue changes in position precisely as it does
when AE, AH are sung alternately, the little pro-
jection of the uvula not being noticeable. Try
the experiment of closing the nostrils for AHN',
and observe again that it produces but a slight
effect. This vowel bears a resemblance to the
syllable ong, which is an intelligible but hideous
substitute much used by Englishmen.

OAN'. Sing OA, and, while singing, open and
close the nasal passage alternately, producing
alternately the French vowels OA, OAN' in
" beau, bon" boa, boan' . Practise alternately OA,
OAN', OA, OAN', tiU the sound is hit with
certainty. Englishmen generally find a difficulty
in distinguishing the two vowels AHN', OAN 1 ,
confusing them both in the deformity ong. At
least they might become more intelligible by
calling the present sound oang. But it should be
observed that in oang there is no nasal vowel at all ;
there is simply an oral vowel followed by an
orinasal resonance, the -mouth being entirely
obstructed, so that if we prolong oa we have no
approach to oan' at all, and if we prolong ng we
have much the same effect as would be produced by
closing the mouth by the hand when saying oan'.
observe that though closing the nostrils while
saying aen', ahn' did not very materially affect the
sound, closing the nostrils while saying oan' almost
totally destroys it. In fact, there is great difficulty
in bringing out any nasal sound at all. This very
singular effect seems to depend on the insufficient
outlet through the rounded mouth for both the
oral and nasal resonances. It is useful as a
characteristic distinction between //' and oan'.
Practise ahn', oan', ahn', oan', &c., where the
principal action consists in rounding the lips for

Sec. V.

VOWELS.

oan\ Then aen' , oan' , and aen' , a Aft', oan' ; ahn' ,
aen', oan' ; ahri ', o<w', aen' , &c. Also introduce the
oral vowels among them, so as not to come next
their nasalisations, as aen', ah, oan', ae, ahn , aen',
ah, all to the same pitch, and in one breath without
pauses, but varying the pitch at different breaths.

OEN'. Sing OE, and, while singing, open and
close the nasal passage alternately, producing
alternately the French vowels OE, OEN' in " oeuf,
un" oef, oen'. Practise alternately oe, oen,' oe, oen'
till the sound is thoroughly familiar. It bears a
disagreeable likeness to ung, which most unpractised
Englishmen use ; but those who can produce a true
orinasal vowel are in the habit of saying un' or
uun', nasalising u or uu rather than oe. It is a
curious fact that the nasal un 1 or uun' with an
open mouth, is scarcely affected by closing the
nostrils. But if oen 1 is sounded with the mouth
in the mid-round position (diagram 1 3) as for oe,
the vowel is greatly affected, though not so much
as the vowel oan'.

Character of French Nasality. These four
French nasals will require much study and care.
See Ex. 50. The singer especially has to guard
against making his tone too nasal. He must give

due prominence, as already directed, to the oral,
and principal, part of the resonance, and avoid
twang. The orinasal vowels are quite free from
disagreeable effect in good French singers, though
it is possible, even for Frenchmen, to give them not
merely a clarinet, but a bagpipe character. Those
who wish to please when singing French, will take
the trouble to avoid such an effect. A comparison
of the quality of tone in the two last named instru-
ments, both of which are confessedly nasal, will
serve to explain the difference of effect that the
singer has to aim at. Nasal quality of tone is due
to the absence of the evenly numbered partials
(p. Qa), thus if an instrument gives only the
partials

d, s n 1 ta x| r 2
1357 9

the effect is very nasal. See my translation of
Helmholtz, p. 172, where nasal qualities are
recognised in narrow stopped organ pipes, piano-
forte strings struck in their middle points, and
clarinets. The remedy is to produce numerous
evenly numbered partials by resonance in the
mouth, although of course the other, due to
resonance in the nose, must be more distinct than
usual, or there will be no orinasality.

VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCA-L E.

VI, VOWEL GLIDES

DIPHTHONGS, TRIPHTHONGS, AND VOCAL B,

The Nature of Glides. Pitch Glides. Place one
finger on a violin string, bow it for an instant, and
then, without ceasing to bow, slide the finger
along the string for some little distance and stop
again, still bowing. Then a determinate note will
be heard first and last, and between them a series
of notes, following one another so rapidly, and
differing from each other so slightly that it is
impossible to distinguish them, although the effect
of a continually altering pitch, and, necessarily, of
a continually altering quality of tone, will be
heard. This intermediate effect is called a " glide."
It is totally different from proceeding from the first
determinate tone to the last by a jump of the
finger without sliding. The same effect can be
produced in singing, where a voice can "glide"
from d to s, for example, producing an intermediate
series of notes varying in pitch and quality of
tone, and the effect is called " portamento "
paor'taamai'ntoa.

Vowel Glides. But in the voice it is possible to
make a glide of quality only, retaining the pitch,
because a change in the form of the resonance
chamber necessarily produces a change of quality.
Sing AA, and continuing to sing at the same
moderate pitch, raise the tongue quite gradually to
the position for EE or I. It will be found that the
raising of the tongue is mostly effected by raising

| the lower jaw at the same time, though with a
little practice this can be avoided. Then between
the A A and the EE, and throughout the change oi
position, a series of changing vowel qualities are
heard, which constitute a " glide," distinguished in
this case as a "vowel glide" because both the
extreme sounds are vowels.*

Temporary Symbolisation of Vowel Glides, and
Effects of Crescendo and Diminuendo. Represent-
ing a glide for the moment by placing -|- between
the symbols of the first and last 'sound, we may
write the effect of the above glide, thus

AA + EE,~or AA -j- I

Now perform the same operation with a crescendo
(kraishai-ndoa) in force, and also with a diminuendo
(deemeenooai-ndoa) in force from AA to EE, preserv-
ing the pitch. We may for the moment write
these operations thus

Crescendo <; AA -f- EE, diminuendo :> A A -f- EE.
Increase the rapidity of the change in two ways, first
making the AA very long, and EE very short, and
lastly making the AA very short and the EE very
long. Indicating the long and short vowels for
the moment by adding the words long and short

* So far as I know, attention was first called to the
nature and existence of these glides, and the name for them
proposed, in my little tract called "English Phonetics,"
W 6185, published in 1854.

Sec. VI.

VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL R.

after the letters representing the vowels, supposing
that in the first case they had equal length, both
long or both short. We have the four additional
cases

<: AA long -\- EE short, :> AA long -f- EE short.
<: A A short -f- EE long, > AA short -f- EE long.
in all of which the vowel I may be used for EE.
On singing these it will be found that the
crescendo < has a bad effect, because the force is
thrown on the least agreeable vowel, and that the
crescendo with a short vowel at the end is worst of
all, because there is no time for the ear to rest
after the glide, and this causes a continual strain
of attention. For the same reason a short glide is
preferable to a long one. The diminuendo or ;>
glides, in which the first or opening vowel is long, pro-
duce the best effect in singing, because they are more
musical, and, though the voice glides off to a short
vowel, the result is not felt to be disagreeable, as it
was before, because the diminishing force renders
it unattractive, and even difficult to apprehend.
But for the glide to be properly heard, it must be
smart." On the other hand, in speaking the
diminuendo or > glide with a short first and long
second element is best ; for the force being put on
strongly to the first element, which is held a very
short time, the glide comes in for a large share of
it, and is made conspicuous, while the second
element, continued quietly for any length of time,
gives repose and yet sustains the action. Some-
what of the same effect is also produced when the
first element is long, provided the second element
is also long.

Nature of Diphthongs. Two terminal vowels
connected with a glide in this way form a
diphthong (dif- thong ; this is the recent pronuncia-
tion, though formerly dip- thong was used, and the
pronunciation of the word is so given by Walker,
together with trip-thong, nap'tha, opthal'mik, all of
which have now / and not p). The essential
character of a diphthong is the " glide," the
length and qualities of the two vowels arc in-

different. The "clearness" and "smartness" of
the glide are important, as otherwise tho union is
not perceived. There must always be a crescendo
or diminuendo in a diphthong, so that one of the
two extremes has more force than the other. The
stress is generally on the vowel nearest to AA or
to UU in the Vowel Scale on p. 39. The glide is-
longest and most intelligible, and hence generally
the union is closest and best, when there is a con-
siderable difference between the heights of the
tongue at the commencement and close of the
glide. Different speakers, provinces, and countries
have, however, very different habits in these
respects, and we must not be guided by our own
feelings alone. All, however, regard diphthongs
as single syllables.

Permanent Symbolisation of Vowel Glides.
Although the full way of writing the glide is that
already indicated, a briefer but equally systematic
method is to write the two extreme vowels together,
and place the short sign over the first letter or both
letters of the element which is weak or has least
force, when it follows, or over its last letter or both
letters when it proceeds, quite independently of the
length of that element. Thus aaee, aaoo, and
eeaa, ooaa (or aaee, aaoo ; eeaa, ooaa} are diphthongs-
having the stress on aa, which is the first element
in the first two, and the last element in the last
two. It is not necessary to mark the length of any
but the element which has force, and then we
write aa'ee, aa'oo, eeaa', ooaa', for a long element
under force ; and, using a consonant for illustration,
aaee't, aaoo't, eeaat', ooaat' for a short element
under force. In speaking, the element without
force is generally short when it comes first, and
long when it comes last.

Unanalysed Glossic Diphthongs. In ordinary
Glossic the diphthongs are not completely analysed,
because of the great variety of sounds in common,
use assigned to each class without any intentional
variation and without any change in the meaning
attributed to the diphthongs. But the classes

VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL R.

Sec. VI.

themselves are especially distinguished by " un-
unalysed" forms, as El, 01, OU, EU, or by affixing
Y, W, or R to certain vowel signs. The difficulty
felt by those who have not been accustomed to
observe spoken sounds, or to analyse diphthongs,
renders this symbolisation of classes very useful
and important. But as it is important for the singer
to understand how all these effects are produced,
and to know how to avoid the numerous unpleasant
varieties in common use, the precise meaning of
these forms must now be considered, in all the four
languages here treated.

1. FIRST CLASS or DIPHTHONGS, WITH WEAK EE
FINAL.

This class embraces all the forms in which the
last position of the tongue is that for EE, I, or
UE, diagram 1. The real final is EE in Italian
and French, generally I in English and perhaps
German, and in some cases UE in German.

El. English, Spoken. The best forms for
speakers are Ui or A'l, the first element loud and
short, the glide conspicuous and diminishing in
force to the second element, which may be long or
short at pleasure, and is as often one as the other.
The whole diphthong is often pronounced very
short indeed, as in first personal pronoun, singular
number, when in connection with verbs, as " I saw
it " a'i sau it, or m sau it, but may be very much
lengthened, as in " fie! " fa'r or fu1\ The sounds
AAi, UUi are just admissible, but not pleasant to
my ears, although Mr. Melville Bell gives the
preference to AAi. But AHi, AUT, OAi, must be
carefully avoided. Many Americans and Germans
(p. 39), and even Englishmen, have a bad habit of
not sufficiently closing the nasal passage by the
uvula for AA, and hence will give a nasal twang to
AA, written ,AA, which is carried over to the
following I, especially when an N follows, thus
English "mine" and German "mein" will be
called mpain. This is a specially disagreeable

fault, which all English singers must sedulously
avoid. Even a trace of nasality greatly injures the
fine quality of tone in the vowel AA. See Ex. 34.

El. English, Sung. The best form for singers
is AA-T or A' 'I with a long first element, and a short
sharp glide leading up to the I at the end to make
the union evident. The sound AA is rather broad,
and hence it is advisable for the singer to get away
from it into A' as soon as possible, and dwell the
greater part of the time on A', till he closes up
suddenly with the glide and I, thus : aa short -j- '
long -j- short glide on to i short. He thus gets
the best tone to sing on, and the glide from aa td
' indicates the coming final glide sufficiently to
prevent confusion with simple AA or A', and
produces the mental effect of prolonging the whole
diphthong (which is, of course, impossible) instead
of one of its elements. The sung diphthong is,
however, very different from the spoken one,
except for the word aye, which is usually aa-\ in
speech. The sounds : u long -\- i, uu long -|- i,
would be very disagreeable in singing.

El. German. The German spoken diphthong
written " ei, ey, ai, ay," is AAee or AAi. or AHee,
AHi. The first element is decidedly longer and
more prominent than in English, and never rises
to A' or obscures to H, UU. But as already
mentioned, in Germany, as in America, the first
element is apt to be nasalised, and this defect must
be avoided. The singer, therefore, can take the
German EI precisely as the English ; but an
English speaker who uses a German AAi for an
English Ui or Ai is apt to become ludicrous. The
peculiar German diphthong AAue is theoretically
admitted by all German writers on pronunciation,
for the written forms " eu, au," but I do not
remember ever to have heard it in actual use,
from ordinary speakers, or even in the pulpit, or
on the stage. In middle Germany I generally
heard ahee, from ordinary speakers of the middle
class, with a very long ah and a conspicuous glide,
thus distinguishing the sound of "eu, au " from

Sec. VI.

VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL R.

that of " ei '' aaee, which had a shorter glide. But
in North Germany attee, is used, like English OI,
and this had "better be used by all English singers.

EI. Italian. Vowel Slurs. The elements in
Italian diphthongs are nearly equally conspicuous,
and the connecting glide is very short, so that the
union appears extremely lax, and the effect is more
like two separate syllables than a single syllable,
whereas the monosyllabic character is always well
marked in English and German. The Italians
distinguish four kinds of diphthongs (1) " sdruc-
cioli " zdroot-choalee or gliding, having the force on
the first vowel, of which " aere, laido " aaai'rai,
l,nee-doa (air, ugly) come very near to being EI
diphthongs; (2) " piani " pyaa'nee, or "even,"
having the force on the second element, and being
really two syllables, because there is no glide at all
between the vowels, as "aita" aa-ee'taa (help^ ;
(3) " equilibrati " ai-kweeleebraa-tee (equally
balanced), which are merely two unaccented
vowels spoken in rapid succession without a glide,
as "Borea" bao-rai-aa (Boreas); (4) "raecolti"
raakkaol-tee (close), in which the first vowel is a
very short ee, 00, but there is a real glide, as
"pianta" peeaan-taa or pyaan'taa (plant). Of
these the second and third are not properly
diphthongs ; the first belongs to this series, and the
third to the EE initial unaccented or third series
below. The Italian gliding " ai " may be sung as
English aat, but it is safer with all the Italian
combinations of vowels to pronounce both vowels
clearly with scarcely any glide, or rather with such
a diminution of force during the glide as would
make it almost inaudible, but would not occasion
any real silence or total separation. This may be
called a " slur," and written at full by an inter-
posed -J- (which represents an imperfect -}-) thus,
'/-f-<T, or by the usual diphthongal form, with a
hyphen between, thus aa-ee, indicating a kind of
broken glide. The close Italian diphthongs may
be indicated, when thought necessary, by putting
the short mark on the first element and adding the
hyphen. Thus the four Italian cases would be

fully represented by v l) aa-airai, laa-ee'doa.
(2) aa-ee-faa, (3) bao-rai-aa, (4) peeaan-taa. In
singing, lay the stress as here marked (in the
second and fourth cases on the second element),
and take the whole to one or two syllables,
according as the composer has assigned one or two
unslurred notes to them, but always make both
vowels quite distinct.

EI. French. The French have no original
diphthongs of this class ; their " a'i " being more
like an Italian " ai " aa-ee. But they have several
recent diphthongs of this class. Thus "ai'eul" is
aaee-yoel (ancestor), as well as aa-yoel. And from
those final "il, ille," which used to be called ty',
and have now become ee or y or yh, several EI
diphthongs have been formed, as " goavernail "
goovaer' naaee (rudder), " email" aimaaee (enamel ,
"Versailles" Vaer'saaee; and with other first
vowels, " accueil " aakoeee (reception), " oeil " oeee
(eye), ''vieille" vyaeee (old\ All these are true
EI diphthongs in the sense just explained.

01. English. In speaking, this diphthong,
when final, and in some other cases (as before z) ,
becomes aw\ with long first element, as in boy
bau'i, boys bau'iz, noise nau'tz. This is well
adapted for singing, and Handel has sometimes
many bars on the au. The singer must mind to
close with a smart glide on to the i, or the effect of
the diphthong will be lost. Before s, however, the
first vowel becomes short, and although it may
remain au, a more refined effect is produced by
changing it to 0, as oyster aurster or orster,
rejoice rijauvs or rijors. The singer must, how-
ever, use au'l as before. Speakers and singers
must alike guard against the vicious pronunciation
as an ei diphthong, thus rijaars ; and foreigners
have to guard against using oat or aoi, as rijoai-s
rijao-is. See Ex. 36.

01. German. The syllable "en" or "au" is
called 61 in North Germany, as explained above,
(p. 44i) may be sung as au'i

VOWEL GLIDES, DIPHTHONGS. TRIPHTHONGS, AND VOCAL R.

Sec. VI.

01, Italian, occurs only in the modified form
ao-ee, which presents no difficulty.

01, French, does not occur, being altered to
ooee, see OOY, below.

Abbreviated Analytic Forms of El Diphthongs.
In less systematic writing of Glossic, it is usual
to write the EE-final diphthongs with a final Y, as
aa'y any, ahy ay uy uuy, au~y auy oy for either
aa-t, aai, alii a'l ui uut, au'i aui 01, or aa-ee aaee,
ahee dee me uuee, au'ee auee dee ; and the Italian
are not distinguished from the other diphthongs.
This very convenient symbolisation will be
generally employed in the examples of songs
given below, and in especial cases the form aay will
be used for " aye," which should not be otherwise
pronounced, as in the Short Key, p. 12. The
systematic form is, however, necessary for full
intelligence. This will appear in discussing the
following forms.

AI-Y. English. When AI has to be lengthened
there is a tendency in Southern English to say H,
see p. 30#, although the I is seldom quite reached,
and the glide is not smart. This is usually called
the " vanish," and some writers reckon it as a
defect, but others as the only correct pronunciation
in all cases, while others allow it at some times and
not at others. It is no doubt very common, and
occurs most frequently at the end of a word, or
before t. Some speakers even shorten the first
element and say ait, which then rapidly degenerates
into ei, aei" 1 ai, a'i, and even aai. I have not heard
#'?, aai for ai, but am familiar with aei, ai, and
possibly within a hundred years hence an El sound
will be usually substituted for long AI in Southern
English. The El sound, where now used, will
then probably be altered, and be always aai, as it
is in Essex, where the act sound is most frequently
used for ai, but all these matters, though very
important to the speaker, are indifferent to the
singer, who must say AI, and never use AI-Y at
ill, if he wishes to sing agreeably. See Ex. 35.

AIY, German, occurs only provincially in the
form aii or aei for the usual aai in some particular
words, and should be generally ignored.

AIY, AEY, Italian, occur in the forms ai-ee, ae-le,
which present no difficulty.

AEY, French, occurs in the form ae-eS, as
conseil koan'sae-ee or koan'sacy, the first element
somewhat long, the second short, and the glide
almost reduced to a slur, for which reason the
Italian form is here used, but koansaly would be
quite sufficient to indicate the sound.

OAY, German, occurs perhaps only in the word
boje boayyu (buoy) and its related words, but these
are properly Dutch, and the form buje booyyu is
also used.

OAY, AOY, French, occurs (more usually as
aoy) in the pronunciation only of some speakers,
where "oy" precedes a vowel, as royaume
raoyyoam for r'waayyaum (kingdom), but as the
latter pronunciation is always admissible, singers
and speakers need not trouble themselves about
the former.

OOY, German, occurs only in the exclamation
pfui pfooy. or more properly pfooi (fie !)

OOY, Italian, occurs as a very distinct oo--ee, in
lui looy, that is, loo'-ee (him).

OOY, French, occurs in the form ooee. with a
very short first element in the word " oui" (yes),
which must not be confounded with the English
" wee, we," and, although in singing it is generally
taken ooee with the second element lengthened, the
first element never degrades into the consonant w.
In conversation and declamation the feeling of the
moment much alters the sound of this very common
word, which is almost an interjection. Sometimes
the second element, and sometimes both elements,
and hence the glide between them, are spoken
without any voice at all, merely by driving flatus
through the required positions. See H in Section
VII. Distinguish ooy " oui " (yes) from tho

Sec. VI.

VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AA'D VOCAL R.

dissyllable oo-ee ou'i (heard), and the Italian lui
looy, from the French Louis Loo-ee (Lewis). This
diphthong also occurs in such words as depouiller
dai'pooyyai or daipooee-eeai, &c.

OEY, French, occurs in such words as ceil oey,
that is, oeee (eye) which Englishmen have a
tendency to confuse with their m or uui or aai, and
call eil, that is, uil, uuil, or add, a pronunciation
absolutely unintelligible to Frenchmen. Such
words as accueil, cueillir, aakoey, koeyyeer' , properly
akoe-ee, koeee-eeeer 1 (reception, gather) must be
well studied, and must be carefully distinguished
from a/ceil, akeilyeer on the one hand and akerl,
akerlyeer on the other.

TJEY, French, occurs mostly as a variety of
ueee (p 493) in lui luey, that is, lue-ee (him), which
is more properly lueee, but I have mentioned it here
to draw attention to the great difference between
French lui luey and Italian lui looy, which English
people constantly confound. The form ueee
belongs to the fourth class of diphthongs, see
p. 49. There are a few words in which gueee
occurs. See under gui, in Sec. XIV., French.

2. SECOND CLASS OF DIPHTHONGS, WITH WEAK
00 FINAL.

Oil, English, Spoken. The forms preferred are
uuo, a'tio, and even aauo is admissible, but uuuo has
a coarse sound. The first element is always short,
"^nt the second may be prolonged ; and So may be
used in place of uo, but it is not common. The
glide is here mainly due to the action of the lips,
and is therefore very marked, but there is a
tendency in consequence to " round " the first
element, that is, to begin closing the lips before
the second element is reached, and such forms as
ao'uo, au-uo oa-uo are common in the provinces
(even oe-ue is said to occur in Devonshire). This
error must be carefully avoided. Possibly as a

revulsion against it, the first element is often taken
too thin, rising from a' to a and even ae, e, ai,
giving the perfectly hideous forms aiio, aeuo
(common in Norfolk, Lancashire, and elsewhere),
with euo or aiuo (some of the commonest London
and North Kent forms). These should be most
carefully avoided by all speakers and singers. To
hear, "round about the house" called raiuond
ubaiuot- dhu haiuos (even an unaspirated aiuos
occurs !) is most distressing to the ear, yet nothing
is more common from speakers born in London,
even when well educated.

OU, English, Sung. The form aauo is now
preferable, and the first element should be pro-
longed. Also we may employ the device already
recommended for ei when sung, p. 44, and quit
aa rapidly for a 1 on which we dwell for the chief
sound of the note, and then pass over to uo with a
quick short glide, thus aa short -f- a' long -j- short
glide to uo short.

OU, German, is now always aauo or ahuo, with
the first element more conspicuous and more
lengthened than in English, and no other form is
admissible, but it may be sung (never spoken) as
the English sound. See German EI, p. 44.

OU, Italian, has a loose slurring glide, like the
EI, see p. 45#, in fraude//-aoo'<ftu (fraud).

OU, French, cannot be said to occur ; as the
word caoutchouc kaaoochoo is quite foreign.

Abbreviated Analytic Forms of OU Diphthongs.
In less systematic Glossic we write W for either
final uo or oo in these diphthongs, thus AAW
AA-W, AIW, AEW. AW, OAW, AOW, for aauo,
aa-uo, aiuo, aeuo, auo, oauo, aouo respectively, which
is a great convenience, and is used in the follow-
ing songs. Hence we write

OA-W, English, meaning oa-uo, or long oa,
gliding off into uo, forming the " vanish " of oa,
as explained on p. 36. This form passes readily

VOWEL GLIDES, DIPHTHOVGS, TRIPHTHONGS, AND VOCAL R

Sec. VI.

into oauo, ution, auoo, so that oa becomes transferred
to ou. When the transformation is completed, the
effect is extremely disagreeable in speech. I have
heard children in Hyde Park talk of lei'diz in u
bout for lai-diz in u boa-t, or at most lai'ydiz in u
boa-wt, and the effect was almost ludicrous. Those
English speakers who use ei ou for ai oa or ai-y
oa'w, generally use aay or ahy and aew or aiw for
ei ou, and thus avoid the ambiguity. As was
observed on p. 46a, it is possible that at some time
these changes may be sanctioned. At present,
although writers are still divided in opinion as to
whether oa- or oa-w is more correct, there is no
doubt that ou is shocking to educated ears in
speech, and that no singer should allow himself
to use this " vanish " at all.

3. THIRD CLASS DIPHTHONGS WITH WEAK EE
INITIAL.

EU, English, when not following another con-
sonant, either stands for simple yoo, as in ' you ' or
else for yeu, as in ' yew,' and is employed merely
for convenience. After a consonant, the actual
sound preferred is wo, with often a very short i
indeed, as in tune two'n, dew dwo. Care has to be
taken not to omit the, i and say too-n, doo, both of
which are very common vulgarisms ; or to pass
through tyoo-n, dyoo into choon,joo, or even chwo-n,
jwo, all of which forms may (unfortunately) be
heard. When a consonant has been altered by the
insertion of t before any vowel, the tendency of
English speakers is to omit the i, which appears to
be sufficiently indicated by the change in the con-
sonant ; but i is sometimes retained. We call
motion moa'shun, and ocean oa-shun, but fuchsia is
fwo'sKiu, noifwo-s/iu; again, we call Asia Ai-shu,
but Asian Ai'thiun, not Ai'shun, and with the
unaltered s the * becomes a distinct syllable i in
Asiatic A i'si-at'ik, though some prefer Ai'shi-at'ik.
After a trilled r' the i is lost, thus true truth tr'oo
troo'thy not tr'wo tr'wo-th, and rule r'oo'l, not r'wo^l,

which is provincial. After I, however, the i is
generally lightly heard, as lute Iwot, but may be
omitted, as loo-t. Be particular not to confuse
news moo'z with noose noo'z. Be particular also
not to change wo into eeoo, especially in cases
where the I is properly lost, as truth tr'eeooth for .
tr'oo-th, rule r'eeool for r'ool, Susan Seeoo-zun for
Soo-zun, all of which are very disagreeable. Also
be particular not to change too into the French ue
or some sound like it, as in Norfolk and Devon-
shire, and occasionally in Lancashire. And finally
be particular not to change a pure oo sound into too,
as too two for too, afternoon aaf-termoo-n for
aaf-ternoo-n, a habit unfortunately gaining ground
even among otherwise good speakers. Yery few
speakers distinguish yew yioo from you yoo, or
hew yhoo or yhwo from hwo or yoo. The word
human is usually hwo-mun or yhoo'mun, but humour
often retains the older sound of yoo-mer. The
action of the \ in wo has been so little studied that
neither educated speakers nor orthoepists have
come to an agreement on the subject. This diph-
thong eu is often very short in English, as in unite
eunei't, meaning yioonuit', monument mo>reument,
meaning mon'^ioo-^-ment, that is, with a medial n, as
explained in Section IX, not mon~^-yoo-^-ment.

EU, German, does not occur in any form, but
for foreign words the Germans write " ju," mean-
ing yoo.

EU, Italian, as in piu peeoo (more), is very com-
mon. In these cases the ee, though very short, is
distinctly different from i, giving a peculiar
brightness to the combination, which is one of the
Italian close diphthongs. See p. 45. All the
other Italian diphthongs with this short ee initial
are treated in the same way.

EU, French, does not occur.

Abbreviated Analytic Forms for EU Diphthongs
Generally in less systematic Glossic we write a
simple Y for this initial I or ee, thus pyoo for both

Sec. VI

VOWEL GLIDES, DIPHTHONGS, TBIPHTKONGS, AND VOCAL E.

English pew pioo, and Italian piu peeoo, tune
tyoo-n, dew dyoo\ dyoo, piano pyaa'noa, Italian
miei myaey, meaning meeaeee. This is a very con-
venient notation, and will "be used in the following
songs, but it is not strictly accurate.

4. FOURTH CLASS OF DIPHTHONGS WITH WEAK
00 INITIAL.

In English this weak oo initial is usually con-
sidered to be w, and when not following a
consonant it really becomes w, but only in English.
When these diphthongs follow a consonant, as in
twin, dwell, quell, written, twin, dwel, kwel, the
effect is at times tooin, dooel, kooel, but perhaps
this is not such genuine English as tw'in, dw'el,
kiv'el, where the w' indicates that an attempt is
made to pronounce the w at the same time as the
consonant, by bringing the lips into the w position
before the consonant position is changed. For
singers, however, the forms tooin, dooel, kooel are
important, because they greatly facilitate singing,
and do not render the sounds unintelligible.

In German no such diphthongs occur; the
German " quelle" being distinctly kv'ael'u.

In Italian these are very common close diph-
thongs, p. 450, and they even occur initially without
any prefixed iv, as in uomo ooao'moa (man), uova
doao-voa (egg). After k they are frequent, as
quanto kooaan-toa (how much), questo kooais'toa
(this) where the vowel effect is clearly heard. But
in the following songs I have followed the custom
of writing w, as wao-moa, wao'voa, kwaan'toa,
kwais-toa, which would be more generally in-
telligible to English readers. Singers, however,
must remember that oo is both easier for the voice
and nearer to the correct sound.

In French these diphthongs are very frequent,
since " oi " is almost always called doaa, as oie
0000, doit dooaa, croix krooaa. The word " oui "

was given as ooee on p. 46, and this is perhaps the
commonest sound, but it is also often ooee with the
ee lengthened, and then it sounds to an Englishman
like his " we." Other common French forms are :
odae, as poele (stove pooael, often called pooaal,
and thus confused with poil (hair) ; fouet (whip)
fooaet, often called fooaat, and ooaen', as point
pooaen', coin (corner) kooaen', soin (care) sooaen'.

iieEE, French, is the common pronunciation of
"ui," as lui lueee (him), nuit nueee (night). English-
men have to guard against saying ooy on the one
hand, and wee on the other. Such pronunciations
as looy, nooy, or Iwee, nwee are simply unintelligible.
It will be found easier to practise ue-^-ee at first,
and then w-ee, in order to hit the ue firmly, and,
after these are secure, to fall gradually into ueee.
The final form requires much practice to hit well.
It will help the student to remember that the
tongue remains fixed for both elements ue and ee
and that the glide, or connection of the elements,
is made with the lips only. Hence in saying neee,
begin by putting the tongue in the position for ee
(diagram 1) and lips in the position for oo (diagram
12), and then, dwelling on the resultant ue (p. 290),
just long enough to make it sensible, open the lips
suddenly to the position for ee (diagram 11),
leaving the tongue steady, so that a smart glide is
heard in passing from ue to ee, and the full ee
sound results. There is of course also a change of
throat, which is wide for ue and primary for ee^ but
this will occasion no difficulty when the student
can once move his lips without any motion of the
tongue. The following words should be practised
both in speech and singing, till this diphthong
(easy enough in itself, but generally taken very
badly because its mechanism has not been under-
stood), becomes perfectly easy : puis (then), puits
(a well) pueee, puine (born-after) puiteenai, puisei
(to draw, as water) pueeezai, puisque (since)
pueeeskeo, puissant (powerful) pueeesahn', buis (box-
wood) bueee, buisson bush) biieeesoan', bruit (noise)
br'ueee (the r occasions great difficulty), bruine-

r>o

VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL R.

Sec. VI.

(dri/zle) br'ueeen, tuile (tile) tueeel, tuilerie (tile
manufactory) tueeelree, truite (trout) tr'ueeet,
induire (to induce) aen' dueeer' , cailler (spoon)
kueeeyder\ cuirasse kueeer'aas, cuisinier cook)
kueeezeenyai, cuisse (thigh) kueees, cuivre (copper)
tcueeevreo, cuir (leather) kueeer' (observe, not kw'eer,
as Hood makes his Englishman say of the French :
" They call thin leather queer, And half their shoes
are wooden" ; fuite ( flight) fueeet, fruit fr'ueee,
suite sueeet, suivant (following) sueeeevahri juif
(jew) zhueeef, juillet July) zhueeeyaet, ruisseau
(stream, gutter) rueeeson, luir (to shine) lueeer, muid
(hogshead) mueee, nuisant (hurtful) nueeezahri .

Abbreviated Glossic Forms for the 00, TIE
Weak Initial Diphthongs The oo is usually
written w, thus the French ooaa, ooaen' become
waa, waen' in oie doit croix soin waa dwaa kr'waa
sivaen'. And on the same principle the ue should
become wy\ which bears the same relation to w as
ue to oo, thus lui cuit Iwy'ee kwy'ee, but to prevent
any confusion with wee, wyee, this notation will
not be used hereafter.

Triphthongs arise by the union of an EE or 00
initial with an EE or 00 final diphthong. In
English and German they do not occur. In Italian
they are frequent, as miei meeaiee (my), vuoi
vooaoee (wilt thou , suoi sooaoee (his), for which we
write, as an abbreviation, myaiy, vwaoy, swaoy, but
the other symbols indicate exactly what must be
said. In French occur ouaille ooaaee sheep ,
doyen dooaaeeyaeri ', &c., written waay, dwaayaeri 1 ,
&c. The singer will always use the vowel form.

f>. FIFTH CLASS OF DIPHTHONGS ENDING IN AN
OBSCURE U, AND HENCE CALLED MURMUR DIPH-
THONGS

These consist in gliding from an original
accented vowel to a short obscure u, or an
indefinite obscure murmur written h j as the mere
symbol of voice. They are very frequent in

English, both received and provincial, though they
are unknown in received German, Italian, arid
French. In received English they occur in two
forms.

Vanish Murmur Diphthongs, AAii, AUu. First
as a " vanish " of aa, au, thus aa'u, au-u, which
arises from carelessly raising the tongue and greatly
diminishing force while finishing off aa, au, and as
such are comparable to the other " vanishes " ai'i
or ai-y 'pp. 300, 460), oa-uo or oa'w (pp. 36a, 47#),
and should be as carefully avoided by the singer.

True Murmur Diphthongs, EER, AIR, OAR,

OOR. Secondly they occur after these and other
vowels as a substitute for R', which may be always
added on after them, and must be so added on
when a vowel follows. In ordinary Glossic we
write EER, AIR, OAR, OOR, in order to convey
to English readers, who have never studied speech^
the nature of the sounds heard. But these symbols
would entirely mislead a foreigner. "When no
vowel follows, no R' is heard in Southern pronun-
ciation, but in place of it simply u, to which the
voice glides in the true diphthongal fashion. It is
also the regular habit of educated English speakers
to change the quality of the vowel in each case from
primary to round, and in place of ee'ii, ai'u, oa'u,
on-u, which have become "old-fashioned, or vulgar,
or provincial, to say i'u, e-u, ao-u, uo-u, and it is
thus only that ao occurs in received English. Thus
" peer, pair, pour, poor," written in English Glossic
as peer, pair, poar, poor, are really to be pronounced
as pru, pe~u, paou, puo-u. And when a vowel
follows, as when the syllable "ing" is added, the
trilled r must be annexed, so that we say pvur'ing,
pe-ur'ing, pao'ur'ing, puo'ur'ing. There is indeed
no objection to saying pi-ur^pe-u'r 1 ,pao-ur\puo-ur\
even when no vowel follows. But the u with the
glide leading to it must be inserted in each case, as
it is this vowel and glide which indicates the
presence of r to an English ear. To say pee-r ing,
pai r'ing, poa r'ing, poo'rwg, as may be heard from
foreigners, and even occasionally from Scotchmen

Sec. VI.

VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL R.

and Americans, has an extremely strange and even
uneducated effect to Southern English ears. The
words "glory, glorious," which often occur in
sacred music, must never be sung gloa -r'i, gloa'rius,
but always glao'ur'i, glao'ur'ius. With this par-
ticular diphthong, containing the beautiful vowel
ao, another error is also committed, as ao is not
familiar to us in other combinations. The whole
combination ao~u is changed into au, and thus you
may hear glau-r'i, glau'rius shouted out, and
"oars," properly ao-uz, spoken of as awz ; and
"tore," properly tao-u, reduced to tau\ All this
should be corrected. The English singer should
not only be able to sing i'u, e'u, ao~u, uo'u, but be
aware that these sounds are more adapted for
singing than the inadmissible sounds eer', air', oar't
oor', from which they were derived, and even than
the admissible i'ur', e-ur', ao-ur' uo-ur. They form
difficulties for foreigners, but the Englishman finds
even greater difficulty with the foreign sounds,
where no change of the vowel is allowed, and the
r is trilled. To a German, dir (to thee\ mehr
(more),rohr (tube), uhr , clock), are pure deer', mair',
roar', oor 1 , and di'u', me-u', rao'u, uo'u, would be
almost unintelligible, and would be startlingly
strange to his ears, unless indeed he accepts them
as forms of the common, but faulty, German
uvular l r, as dee'r, mai'r, l roa l r, oo l r. In Italian,
where only a true trilled r' is used, they would be
still worse, although the vowels ai, oa sometimes
become ae, ao' before r' ; compare dire dir (to say),
volere voler (to wish\ am ore amor (love), pure pur
(however , mestiere mestier (business), oro or
(gold , which are dee'r' ai dee'r', voalai-rai voalarr',
aatnoa'r'ai aamoa'r' poo'r'ai poo'r' , maisteeae'r'ai
maisteeae'r' , ao'r'oa ao'r . In French also, though
the uvular '? is common, no u must be inserted,
but we must call dire to say), faire (to do), ignore
(is ignorant of), corps (body , four (oven), sure
(sure), leur (their , simply deer', faer', eeny'aor 1 ,
kcor', four , suer , loer' . The English learner will
find much difficulty in keeping these vowels pure
(that is, primary and not widened , and at the
same time riot introducing his favourite u, as well

as in trilling an r' which does not precede a vowel.

Inserted R'. In case of such words as " par,
north " it is of course allowable to use the " vanish"
and say paa-u, nau'uth, but in the South of England
it is usual to say simply paa, nau th. The aa-u,
au'u may, however, be heard at the end of phrases,
as : below par, in war, oiloa- paa-u, in wawu.
This leads to a curious misapprehension. The
speaker, proceeding by natural analogies, entirely
loses sighft of spelling. To him " papa, law " have
just as much right to this " vanish" u as par, war ;
hence he says pupaa'u, lau'u. Immediately some-
one learned in spelling laughs at him for adding
on an r' or aa-u, as the objector calls it. But the
speaker has merely made a natural " vanish " and
has never thought of an r . But worse remains
behind The speaker has always been accustomed
to add an r' after the murmur diphthongs i-u, e'u,
ao'u, uo'u, when a vowel follows, and says chi u
(cheer) but chiu r'up-, (cheer up), tvu tear; but
te-u r'up- (tear up), bao-u (bore) but bao'u r'in (bore
in , muo-u (moor) but muo-u r'up (moor up,. Why
then should we not avoid a disagreeable gap
between two vowels, and say: pupaa-u r'iz dhe-u
(papa is there), dhu' lau'u ru'v dhu' land (the law,
or lore, of the land, the true cockney would make
no difference , a' drawu'r'ing room (a drawing
room) . Or rather, as we English generally have
a dislike to aa'u and au~u before r', he leaves out
the u as soon as he puts in r', and says pupaa- r'iz,
lau- r'u'v, drau'r'iiiff. It is usual to say that this is
very horrid, and the singer who has any desire to
be thought educated must not for one instant fall
into it ; but it is very natural, in strict accordance
with our present habits of speech, and can only be
corrected by an entirely extraneous and very
difficult study of orthography. When spelling
is known we have the following rules.

Rules for the Use and Avoidance of English
Murmur Diphthongs Never make a murmur
diphthong in speech when E, does not appear in
the spelling. Never make a murmur diphthong

VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL K.

Sec VI.

by putting a vanish to aa, au, or even by adding u
to aa, au, when a following R is not written.
Never fail to make a murmur diphthong when R is
written after ee, ai, oa, oo. Never fail in such a
case to make a trilled R' precede the vowel follow-
ing the murmur diphthong. Never introduce a
trilled R' when R is written and no vowel
follows. These rules are difficult, and the
system of English Glossic avoids them with great
ease and without notable alteration of the spelling.
But the rules must be well mastered by all singers.
To prevent any misapprehension, the apostrophised
r' has been used whenever the r is trilled, through-
out this treatise.

Murmur Triphthongs are frequent in English.
They are formed by gliding from an ordinary ei,
oi, ou, eu diphthong, in whatever form, it occurs,
on to a short u.

EIR, OIR. In the case then of the two first
there is a " waving " glide, as it may be called, for
the tongue first rises to the high-front or ^-posi-
tion, and then sinks to the raid-mixed or w-position,
or at least as far as the high-back or u -position.
Thus ftrefuiu orfa'tu, lyre luiu. This produces a
check or constriction in the flow of sound, and
readily gives rise to two syllables, as fui-^-u,
lui-^-u. Hence great confusion prevails. But in
singing, such words form strictly one syllable, and
hence the singer should practise the glide care-
fully. The first glide to the must be taken
sharply and strongly, to bring it well out, the
second form I to u should be weak and just
indicated, in fact, as our writing shews, it is not
more than a slur (p. 45a) and above all the final u
should not be dwelt on, as otherwise the effect of
two syllables will be produced. If the sense seems
to require a strong ending, add a slightly trilled r\
as fuiur', hiiur . The oi-diphthong seldom runs
on to a glide. The word " moire " is occasionally
called moiu, but it is not an English word, and if
it should occur in English singing the word had
better be treated as a French word, and called
mooaar, or as an anglicised French word, and

called mwauu. Similarly, memoir mem'wau, devoirs
devwau-z, reservoir rezuvivau-u. ' Choir ' is now
always kwuiu, and is even spelled " quire" in the
Book of Common Prayer.

EIRE', EIEER', EIUR'. When a vowel follows
this combination different usages prevail. In
"fiery" the custom of inserting the "e" shews
that three syllables were meant to be taken, as
fm-u-ri, but in singing only two are usually
taken, as/ww-r'i. In " tiring, inspiring, desirous,"
and such-like common words, the glide must be
used, as tmu-r'ing,inspiiiu-r'ing,dizmu-rus; indeed,
to split the mu into two syllables, ui-u, has a very
slovenly effect. To distinguish these cases easily
in common English Glossic we write feir, leir,
fei'rr'i, inspei'rr'ing, dizei'rrus for the true triph-
thong, and fei'err'i, inspei'err'ing, or fei'ur'i,
inspei-ur 1 ing for its division into two syllables.

OTJB, OTJRR', OUERR', OTMIR'. The case of
ou is nearly the same. "We say hour uuou in one
syllable with two glides, from u to uo and then
back to u again, making the first sharp and clear,
and the second relaxed and faint. But here on
account of the rounding of the lips interposing
between two unrounded vowels, there is still more
difficulty in keeping the monosyllabic effect pure,
and persons hesitate much between uuou and
wwo-f-w, running off into tshe second on the slightest
inducement. In this case, as in the former, the
older English writers of verse generally make two
syllables. When a vowel follows, this effect is
more ready to appear. Using the common English
Glossic method of writing our for uuou, and ouer
for uuo-^-u, as more easily understood by the eye
than the true systematic writing, we hear flower
flour, flower, flowery flow err' i or flou'ur'i, power
pour, pou-er, overpowered oa-verpowerd or pou-rd,
shower shour, shouer, showery sliou'err'i or
shou'ur'i. But in singing as a general rule the
true triphthong has to be taken, and hence it
should be much practised.

EUR, ETJRR'. The case of eur offers no more
difficulty than the ordinary triphthong ; it is

Sec. VI.

VOWKL GLIDES, DIPHTHONGS. TRIPHTHONGS, AND VOCAL R.

dimply iuo-u with two glides, the first quite
distinct, the second more lax. Thus cure ktuo-u,
pure jnuo'u, or in ordinary Glossic keur, peur.
There ought to be no difficulty also in keeping the
triphthong pure when a vowel follows, as curing
kiuo-u-r'ing (which is written kewrring], never
Kioo-r'iitff (which is written keu'r'ing). Observe
then the necessity of writing rr' to indicate this.

Vocal E or EE, Equal to TJ-, TJU' Long. In all

these cases of murmur diphthongs and triphthongs
we have had the degeneration of an original R,'
into a pure vowel u, on to which a preceding vowel
glides. How this could arise will be seen here-
after. (See Glossic Index, under tl r.) It is now
the only received pronunciation, and must be
strictly observed. . Short vowels do not occur
before this sound, but as this sound is really a vowel,
it may be, and often is, lengthened. The singer
has already learned to lengthen it like any other
vowel. It is quite easy for him to sing ku- pw fw
or kuu- puu- fuu-, and he should even know how to
say ke'- pe'- fe'-, ku'- pu'-, fu'-. These four vowels
w,u'', uu-, e'- are different from each other, and
yet very closely related in sound, the two first,
u-, u"- are barely distinguishable, but the two last
uu-, e'', although also barely distinguishable from
each other, form a contrast with the other, being
deeper and thicker and broader. Now in many
accented syllables " er, ir, yr " are written, as in
" serf, stir, 'myrrh," and in others " ur, or, our"
are employed, as in " surf, cur, attorney, jowrney."
Scotch speakers, who do not use the vocal R at all,
here make a great distinction, and say aer', in the
first and uur' in the second set, although not
uniformly. In many provinces, where the "r"
is differently pronounced, speakers make a similar
distinction. Hence, apparently, writers on English
pronunciation have sometimes insisted on the
*' correctness " of a similar distinction in ordinary
speech, and would pronounce the first set of words,
say, as su-f, stu-, mtr, and the second as suu~f,
kuu- atuu-ni, j'uu'ni. It is certain that when such
a distinction is made, it does not strike the ear as

unpleasant. To call the first set of words suu-f,
stuu-, muu- would be unpleasant, because it is an
unusual broadening of the vowel. But to refine
the vowel in the second case, and say su-f, ku-,
atu-ni, ju-ni, although it may sound " thin " to
those accustomed to uu-, has not at all an ill effect,
and, so far as my observations extend, it has
become the general custom of educated speakers to
renounce a difference of usage, which was very
difficult to carry out strictly, and to employ the
finer sound w in all cases. As this finer sound is
represented by " er " in most cases in older
spelling, the symbol er has been used for it in
ordinary English Glossic. This er, however, does
not simply mean u~, but it implies the liberty of
lightly trilling an r' after it, when no vowel
follows, and the necessity of trilling an r' after it
if a vowel follows, thus 1 write serf for both
" serf " and " surf," and also ster, mer, ker, aterni,
jer-ni, implying w in each case certainly, and wr"
in each case permissively, but not ur', which would
have a thoroughly strange effect.

Vocal E or EE in Weak Syllables. This covers
all difficulties in accented syllables. In unaccented
syllables the range of vowel writing is much
greater. According to Mr. Melville Bell the
sound is generally u\ which need not be anxiously
distinguished from u, as the difference is more felt
by the speaker than heard by the listener. Hence
I shall hereafter use u only in such cases. Thus,
doller dol u, observer obzu-vu elixir eelik-su, captor
kap-tu, murmur mu-mu, honour on-u. "When the
trilled r' is added, which is always allowable where
there was an original " r " in the writing, it is
very light, and the glide on to it is so weak, that
the effect is not at all like an accented ur'-. Hence
here again in ordinary Glossic we write dol-er,
obzer-ver, eelik-ser, kap-ter, mer-mer, on-er, the mere
position of er in an unaccented syllable telling the
whole history..

Distinction of Weak Final A and Weak Final
EE. But now a difficulty arises, which is felt as a
great difficulty by persons of imperfect education.

VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, A.ND VOCAL R.

Sec. VI

The final unaccented a in a large number of words
is pronounced precisely as ' or u, that is, precisely
as the vocal r in the words just cited. Thus pica
pm-ku, sciatica sm-at-iku, idea uidee-u, sofa soafa,
acacia ukai-shiu, umbrella umbr'el-u (not um m -
far'el'u), villa vil-u, drama dr'am-u or dr'aa'mu,
asthma as-mu, China Ohurnu, era i-ur'u, hegira
A<yV (not hijui-ur'u), sonata soanacrtu (as an
English word, soanaa'taa in Italian), saliva
sulm-vu, and so on, which we write in ordinary
English Glossic with a, thus pei'ka, seiafika,
eidee-a, soa-fa, akai'shia, umbr'el'a, vil'a, dr'am-a,
dr'aa-ma, as' ma, Chvi'na, ee'rr'a, hej'-ra, soanaa'ta,
salei'va. Why should these not be written pei'ku,
&c., or pei'ker, &c. ? Why, for example, should
not " dear idea" be deer eidee-r ? In the last case the
sounds are unlike ; we really say di'ii, a mono-
syllable, containing a murmur diphthong, and
uidee-u, ending in dee'u, a dissyllable, with at most
a slur between ee and u, not mdi'u with a glide.
Compare such an exclamation as "I, dear ! what
an idea ! " ei, deer ! whot un eidee-a ! For the other
words, though " villa" may rhyme perfectly with
"distiller," "drama" with "hammer", and
" Flora" with " restorer," as vil'u, distil-u, dram'u,
ham-u, Flao-ur'u, restao-ur'u, there are different
permissive pronunciations in the two cases. "Villa,
drama, Flora," may be pronounced vil'a', dram-a",
Flao-ura. They are indeed not unfrequently so
pronounced, and the pronunciation is esteemed as
eminently elegant and refined. The singer, too,
is counselled to sing them always in this way,
because the a 1 is a much more pleasant quality of
tone than u to sing upon To write Glossic a in an
unaccented or weak final or initial syllable points
this out perfectly, because a itself would never be
sung upon if it could be avoided, and ' has been
already mentioned as an allowable substitute for a
even in closed accented syllables (p. 34 a) But to
sing a' in such words as " distiller, hammer,
restorer," thus distil'a', ham'ct restau-ra', is con-
sidered very bad indeed, and to show either great
ignorance or great affectation. Again, these three
words not only may end in a trilled r' at all times,

but must do so if a vowel follows, as distil- ur uv
spir'-its, $c. But to add on a trilled r' to "villa,
drama, Flora," as dhis vil'ur' iz prif.-i, this dram'ur',
iz hevi, dhis Flao-urur' iz broa-kn, is looked upon as
extremely vulgar. Hence, although in ordinary
easy speech before consonants there is no difference
between the unaccented or weak terminations
written -a, -er, in ordinary Glossic, both being
called -u, they have different tendencies, and ai-e
hence never permitted to rhyme, except when a
ludicrous effect is intended. Hence they will in
future be distinguished as a, er.

Dissyllables in EE Distinguished from Murmur
Diphthongs and Triphthongs in R. This vocal
syllabic R or er enables us to draw some important
distinctions. Thus ower (one who owes), tow-er
(one who tows) , row-er (one who rows) , have each
two syllables, oa-u, toa-u, roa-u, with pure vowels
before u, but oar ^of a boat), tore (did tear), roar,
have each only one syllable, as ao~u, tao'ii, rao-u,
with a murmur diphthong in which the vowel is
changed before u. It should be remarked that
in Mr. Smart's Pronouncing Dictionary the dis-
tinction here insisted on is not clearly made. See
Nos. 33 to 54 of his signs, as given in Section XIII
below. Again, people are apt to call a '' drawer,"
and a chest of " drawers," drau-, drau-z, in place
of drau f u, drau-uz, the murmur diphthong awu
being unpleasant ; but this "drawers" ought not
to rhyme with " claws, paws." because in these the
" vanish " au'u (which has the same sound) would
be out of place, and " draw, draws" should never
be called drau-u, drau'iiz for the same reason. But
drawer (one who draws) is always drau-u' . Hence
we write in common Glossic draw drau, drawer draur,
draw-er drawer, draws drau'z, drawers draurz, not
only to shew the distinction, but to point out where
an added trilled r is or is not permissible. Of
course, all these "permissions " and "prohibitions "
to add an r depend upon an older state of the
language, and at a future period customs may
entirely change. But the singer has to learn the
educated literary received pronunciation of 1870-80
and no other.

Sec . VI.

VOWEL GLIDES, DIPHTHONGS, TBTPHTHONGS, AND VOCAL K.

No Vocal E in German, Italian, or French.

There is no such thing as a vocal r in received
German, Italian, or French ; but in German in
unaccented syllables, the common "r" often
renders the preceding " e " obscure, that is, like u
or u\ Thus German eier (eggs), feuer (fire),
bander (ribbons), manner (men), are aarur\ foi'ur\
baen'dur\ maen-ur , with a very faint weak glide on
to the r', which, however, is never lost, so that
final " e", and " er," on which much of the sense
depends, are never confused, thus eine gute frau (a
good woman), ein guter mann (a good man) are
distinctly aai'nu' goo'tu' fraau, aam goo'tu'r
rnaan-. Similarly faint trills exist in Cumberland,
Derbyshire, and many provinces. The Germans,
however, very frequently use the uvular l r (see
p. 51, and also V in Glossic Index, Section XII)
in place of the trilled r', like our own Northumber-
land speakers.

6. SIXTH CLASS OF DIPHTHONGS, ARISING FROM
TONGUE GLIDES, LIP GLIDES, THROAT GLIDES,
AND NOSE GLIDES.

The classes of diphthongs here enumerated are
properly speaking not the only ones which can or
do occur. In most of these cases there is an
alteration of position of the tongue, or of both
tongue and lip, or of tongue, lip, and throat. The
tongue may move alone, forming " tongue glides,"
which is the true nature of the "vanish" ai'y
(p. 46). And the lips may also move alone, as in

60 (p. 47#), which is uu'-^-oo, or uuoo, the glide being
formed only by closing the lips from the wide open
to the high -round form. This is a Lancashire and
Derbyshire "lip glide.'' Similarly, uu-\-oa or uuoa
is a very common " lip glide " diphthong in the
South of England, and may be constantly heard
in the exclamation, "Oh!" and in a doubtful
" No ! " On the analogy of 60 it may be written
6a. The common " vanish " oa'w is also of the
60 class, for it is generally made by bringing the
lips closer together, while pronouncing o, without
raising the tongue, and hence is not completely
oauo. Both 60 and 6a should be avoided, and the
full oo, oa should be struck firmly and clearly. A
similar " lip glide " would occur in i-\-ue or \ue
i, compare French ueee, p. 49(5), and in al-\-eo or aieo
and e-\-oe or eoe ; also in aa-\-ao or aaao. And in
the same way we might alter other vowels. Many
of these occur as provincialisms, and all have to be
sedulously avoided, except as exercises to become
acquainted with their effect and learn how to
correct it by knowing its nature. There are also
" throat glides," where the lip and tongue remain
at rest, and the change is effected in the throat.
The most marked of these is i-\-ee or iee, written
e'e, where the throat is narrowed during utterance.
This is also a Derbyshire and South Lancashire
sound, which should be avoided.

There are also nasal diphthongs, in which one or
both elements are nasalised. This is particularly
the case with ei diphthongs when an n follows
(see p. 44#). In this case we have, therefore, "nose
glides," which should also be carefully avoided.

JLOTTIDS, ATTACK AND RELEASE OF VOWELS, ASPIEATES.

VII. GLOTTIDS,

ATTACK AND RELEASE OF VOWELS, ASPIRATES.

Glottids Defined. The subject of the present
Section is of extreme importance to the singer, and
it should be well studied. The speaker also will
find it useful in correcting many faulty methods of
commencing vowels, especially after consonants.
The nature of the " glottis " is explained on
p. 180. "Glottids" glot-idz are actions of the
glottis and the parts connected with it, as the
vocal chords, which compose its sides, and the
emission of air which passes through it, and is
especially regulated by it, on its way from the
lungs to the outer air. Their action is to start and
end a vowel or other sound, not to modify it, that
is, they deal especially with the " attack " and
" release " of vowels, and the emission of un-
rocalised breath, with its passage to vocalised
breath.

H, Flatus, Glottis Open. Keep the glottis
wide open, and force the air from the lungs rapidly
through it (see p. 180). When this flatus passes
subsequently through any vowel position, as <?<?, aa,
oo, it produces a peculiar sound, which is an
indistinct musical note, giving the notes of the
resonance cavities through which it passes, mixed
with more or less unmusical wind-rush. These
" flated vowels " may be written by prefixing the
sign to the vowel, thus ee, aa, oo, are such
flatuses (flai'tusez; derived from vowel positions.
Thus the "voiceless" ooee of p. 466 might be
written ooee. If we thus produce oo, oa, au,
aa, ai, ^ee, we shall hear a decidedly ascending
scale of notes, reminding us very much of the
effect of turning water under tolerable pressure

from a tap into a jug, or decanter, as it fills. This
cannot be used by the singer ; it is as much a noise
and an annoyance as the wind-rush over the
mouthpiece of a flute. Hence the singer has to
avoid it as much as possible. In other positions,
it forms consonantal " hisses," to be considered
hereafter.

H', Whisper, Glottis Contracted. The edges
of the glottis are brought nearly in contact, so
that the division of the air into "puffs" (see
p. 186) is very imperfect indeed, and the result lies
between the former flatus and the subsequent
voice. It is much used in speech, because it is
sufficient to make the vowels distinctly intelligible
to an ear which is close, and even, with an effort,
to a whole theatre, but it is very fatiguing,
especially to the lungs, as it consumes a very large
quantity of air, even when it is not intended to be
heard at a distance, and it is totally unfit for
singing. Whispered vowels are written thus, 'ee t
'aa, 'oo, &c.

H', Voice, Glottis Closed, the Edges of the
Vocal Chords being in Contact. This is the voice
considered independently of its modification by the
upper resonance chamber (see p. 190). The symbol
is useful to express an obscure utterance through an
indeterminate position or glide. In the case of
dialectal murmur diphthongs, not arising from a
suppressed "r," which are numerous, and often
very short indeed, leading to the feeling of simple
vowels, this A' may be used as the second element,
and contrasted with the true murmur diphthongs,

Sec. VII.

GLOTTIDS, ATTACK AND KELEASE OF VOWELS, ASPIRATES.

thus i'u, iu, Hi, of which the first has the most
distinct and the last the most indistinct termin-
ation to the glide. Writers of dialectal specimens
often use " ea, oa" to express eeh', oak 1 , among
other sounds ; some, however, write " eer, ear,
air," and so on, where no r' might be sounded,
while the presence of r in writing necessarily
implies some permission at least to sound r'. In
such cases eeu, aiu, &c., or eeh\ aiti, &c., are the
proper symbols, as they forbid the use of r in
speech. As all vowels require this action of the
glottis, the vowel signs ee t aa, 00, &c., are supposed
to include it.

I Gradual Glottid. The glottis is open, or in
the state for producing flatus, when air first issues,
and is rapidly contracted to the whisper state, and
then closed for the voice state. The vowel position
of the resonance cavities having been assumed, say
for ee, the result is that we hear a " glide " in the
quality of tone, of which ee, 'ee, ee are parts, the
flated vowel ee gradually passing into the
whispered vowel 'ee, and this again gradually
passing into the full vowel ee. This gives an in-
distinct, blurred kind of commencement of the
vowel, called the "gradual attack," and written
jee. It is common, enough in careless speech, but
it is wanting in precision for the singer, because
his true singing tone ee is preceded by an un-
musical series of sounds, and although they are
much shorter than the note themselves, they are
always more or less offensive. If, as sometimes
happens, the flatus is made more prominent, which
may be written ihee, a sort of aspiration is produced
where none should be uttered, and this has a very
bad effect both in speaking and singing. After
the vowel is established it may leave off in the
same way, the vocal chords gradually separating
so that we have a reversed glide or " gradual
release," ee, 'ee, ee, which may be written eej.
The whole effect is therefore written jeej. This
gradual release is still more common than the
gradual attack, and produces even a worse effect,
because the force of the wind, previously expended

on driving puffs of air through the vocal chords,
finding a clear passage, produces a much more
audible flatus, and the result could be almost
written jee^/i. Singers should never use the
gradual glottid, and speakers in England are
recommended to discontinue it. In the release
eeih, oo/A, if the vowel positions are maintained,
we obtain effects like ee'yh, oo'kh, which are
extremely unpleasant, although in some languages
(as Danish) they are received.

1 Clear Glottid. The glottis is closed to the
voice position, before the air is driven from the
lungs, but the chords are held only loosely against
each other, so that the air can immediately force
them asunder, thus tee. The effect is that the
voice begins instantaneously, and without any
preparatory flatus or whisper. Similarly in releas-
ing, the air should cease to be forced from the
lungs before the vocal chords are separated. The
result is like a clear or clean " edge " to the vowel
at both ends, thus feet, as distinguished from the
" burred " edge of the gradual glottid ?<^. This
is the true method of attacking and releasing
vowels for the singer, and all speakers who wish
to be heard well at a distance should employ it.
The effect is extremely neat and pleasant, from the
absence of unnecessary noises. It should be most
diligently practised, and great care should be
taken to avoid not only the gradual glottid but
the check and jerk presently to bo described. As
every vowel is supposed to begin and end with the
clear glottid, unless some other method is indicated,
it is not necessary generally to indicate it. It
clearly separates syllables between two vowels
which do not glide or slur on to each other. This
has been hitherto pointed out by the hyphen,
which, however, indicates properly a union and
not a separation. Hence in place of chaos kai-os
it would be proper to write kai-fos, or if there is
the usual slur kai-^-os, but for general purposes the
hyphen or accent-mark suffices, as kai-os, kai'os.
The difference of the slur kai-^-os and the clear

GLOTTIDS, ATTACK AND RELEASE OF VOWELS, ASPIRATES.

Sec. VII.

attack kai-fos, is something like that between
taking two notes to one bow or to two bows on the
violin.

; Check Glottid. Let the vocal chords be so
tightly compressed, that it requires more than
ordinary force of wind to be sent from the lungs
in order to separate them and allow a "puff" to
pass. This produces a staccato (staakkaa-toaj
effect. When a stone is sent from a sling, it
leaves the thong with a clear, well-defined initial
velocity, very different to the sudden action
produced by striking the stone with a very
hard hammer. The former case resembles the
clear glottid, and the latter the check glottid.
There is a kind of explosion about the check
which is disagreeable to English speakers, but it
is very characteristic of the German habit of
speaking. It is not commonly used in German for
every initial vowel, but principally when it is
desirable to shew that a consonant .does not glide
on to a neighbouring vowel, as in "erinnern"
(remind) aer';een-ur'n, not u-r'in'en as Englishmen
usually pronounce it ; " unausstehlich " (unen-
durable) oo"n;aaoo's-shtai'leeky' h. This " check "
is not considered a beauty in German, and hence
need not be imitated by Englishmen, who, how-
ever, should put on the clear glottid ? to indicate
the division. It may be interesting to know that
the check is used as a means of accentuation in
Danish, as " mand " (man) maa;n, and it is one of
the Arabic letters, called haamzaa. It is quite
unknown in Italian and French. A vowel may be
released upon the check, as well as begun upon it ;
this is accomplished by closing the vocal chords
suddenly, and so tightly close that the air, which is
still driven from the lungs, is condensed and checked
suddenly. The effect is heard in speaking when a
vowel is suddenly interrupted, as in saying : " Did
you see the ca...?" meaning "cat," supposing
that the speaker were suddenly unable to finish
the word. It is also not much dissimilar to a
hiccup. As a release it forms one of the Chinese
tones at Canton, called the shoo;. The double

effect of the check attack and check release, as
;ee;, is useful in singing extremely staccato notes,
as it effectually separates the notes, with more
suddeness than the clear glottid, though not so
pleasantly.

H or Jerk, HH, HI, H;. The air from the
lungs may be laid on gradually, clearly, or
suddenly. In singing and speaking the "clear"
method is generally pursued, the lungs being well
inflated, and only just so much wind being
"turned on" by the action of the muscles of the
ribs and of the diaphragm (dei'ufram, or muscular
separation between the lungs and stomach, &c.), as
will suffice to keep the vocal chords in proper
action, and force regular puffs through them. The
gradual method is not convenient for speaking,
and impracticable in singing. It would imply
imperfect vocalisation. The force of air set on by
the clear method may vary considerably, produc-
ing more or less loudness,. as in the crescendo and
diminuendo of the singer. The sudden method of
setting on the air implies a "jerk," or an action
suddenly made very great and rapidly diminishing
to something small. This jerk is made by a man
with his diaphragm, the action of which may be
felt by placing the hand on the pit of the stomach.
By a woman the jerk is effected by the muscles
between the ribs suddenly contracting the lungs.
By a pair of ordinary bellows we may illustrate
this action well. After opening the bellows in the
usual way, we may compress them very gently,
and thus make a faint stream of air come out,
scarcely moving a candle flame. This answers to
quiet respiration. We may gradually increase the
force, producing a strong motion in the flame.
This answers to a crescendo. Or we may compress
the bellows suddenly, producing a violent jerk,
which will certainly blow the candle out. This is
a strong H. But we make the jerks slight and
successive, which will blow the flame aside and
allow it partially to recover, without extinction.
This is an ordinary quiet H. These "bellows'
actions" of the lungs (or physems/ei'smz) require

Sec VII.

GLOTT1DS, ATTACK AND RELEASE OF VOWELS, ASPIRATES.

much study by the singer, but belong more to the
management of the voice and breath than to pro-
nunciation simply, and must consequently not be
further treated here. Now suppose that the
glottis were open, the result of a jerk in case of
actual speech would be to produce flatus C A, with
considerable initial force, which may for the
moment be written hh, where the first h repre-
sents the jerk only. If then the mouth were
placed in the position for any vowel, as ee, we
should have hee, instead of an hh, which does not
distinguish the position of the vocal organs above
the vocal chords. If then we passed on rapidly to
Q 'ee and ee as in the gradual glottid, we should
have an effect which might be written tyee, as
distinct from the ihee before employed. The
difference between h^ee and ihee consists in this,
that hiee begins with a sudden large amount of
flatus, and hence with a very perceptible noise,
whereas ihee may begin with merely such an amount
as is perceptible, without being very striHr.g. The
tyee is an "aspirated" (as'pirai'tedj ee in the
ordinary meaning of the word. It has the mani-
fest disadvantage of introducing an unmusical
amount of flatus quite unsuitable for singing.
This HI is, however, regularly used in German,
and in Scotch, and is used by so many English
speakers, that it is never wrong to employ it,
however disagreeable it may be. It is quite
unknown in Italian and French, and many other
languages. But just as hj is a jerked gradual
glottid, we may evidently have A?, a jerked clear
glottid. This would be produced by bringing the
glottis into the position for the clear glottid, before
setting on the air from the lungs, and then setting
on that air with a jerk. The consequence would
evidently be a vowel-sound beginning quite clearly
but very suddenly and rapidly diminishing in
force to the usual amount, thus hj.ee. It is quite
evident that this is the proper method of marking
the place of the aspirate by a singer, because it
makes the effect perfectly perceptible, and adds
nothing unmusical. The singer should carefully
practise this " clear jerk " with all the vowels

ending with a simple clear release, as hieej.
h-}ee?, hfact? h^aaj. hiaa?, to quick and slow notes.
The last gives the singing " laugh," which would
be thus quite clear and 'ringing. It is my own
practice, I believe, so far as I have watched myself,
to use hf rather than hi initially in speaking, and
I find it a very common custom in England. It
appears also to be the custom in India, as I have
been told by educated natives, to use the clear
jerk /<} only, and certainly the old Sanscrit writers
on speech-sounds, do not justify the assumption of
a previous hi in that language. In ordinary
Glossic hi and hj. are not distinguished, and h
simply is used, leaving it undecided which form
should be employed. But in almost all English
words which begin with "h" in writing, either
h? or hi must be pronounced. The exceptions are
very few, and have diminished of late years.
Even now " hour, honest, honour," and their
derivatives, have no "aspirate," but "humble,
hospital, herb, hotel," have it almost always
(though "hostler" is now written <; ostler," the
" h " having disappeared even in writing). Atten-
tion to the proper insertion of h has become a kind
of test of education, persons who " drop their
ai-chez" being considered out of the pale of
society. Hence the greatest possible attention
must be paid to its due insertion. Those who do not
usually employ h are apt to substitute a check, and
say ;at for hat. This only serves to call the especial
attention of hearers to the speaker's defect.
Others give a careless gradual glottid iat, as if
there never had been an h. This must bft over-
come. The high Germans, like the Scotch, never
fail to "aspirate." The Italians own that they
have no aspirate at all. The French, who talk of
their "h aspire" (aash aaspeer'aij generally
replace it by a clear glottid ?, as " le heros " leo
jairoa (the hero), the main test to their ears being
that the preceding vowel is not elided, or a pre-
ceding consonant run on to it. This test fails foi
the single word "onze" (eleven), for they say
lae wan'z oer', leo ?can'z due mwaa for "les onze
heures, le onze du mois" (eleven o'clock, the

GLOTTIDS, ATTACK AND RELEASE OF VOWELS, ASPIRATES.

Sec. VII.

eleventh of the month) although the word was
never spelled with h. Some French actors try to
pronounce the flated jerk hi, but they generally
fail. In the South of France, however, I am told
that hi is common, but that is not the received
pronunciation. A curious fault with many
Englishmen (and some Low, not High, G-ermans)
is to omit the h where it ought to be sounded, and
sound it where it ought not to be heard, and this
especially happens when the speakers are nervous,
and wish to speak particularly well. This can
only be overcome by patient practice on the use of
the open and closed glottis without reference to
particular words. The first great difficulty is to
make such speakers hear the difference, and this
is best effected by means of artificial words, to
which no association is attached. See Section XI,
Ex. 16, and Section XII, Glossic Index, under H.
Contrasts are very useful in case of much
difficulty, as : ee ee ee : hee hee hee \ ee hee ee hee :
: hee ee hee ee \ ee hee ee : hee ee hee \ ee hee hee :
: hee ee ee \ and so on with all the vowels and

diphthongs, and care should be taken to produce
the effect of the clear jerk on weak or unemphatic
syllables without producing the slightest effect of

Croak, Bleat, Wheeze. There are several other
important glottids, such as the Danish croak ,r, or
letter " r," the Arabic bleat i, called '.aayn, and
wheeze 'A, called 'haa, but as these are very
difficult sounds for Englishmen, and do not occur
in the languages here treated, they need not be
further mentioned.

Why H is the Only Glottid written in Ordinary
Glossic. Of the glottids here treated, the aspirate
h is the only one indicated by a special letter in
ordinary Glossic. The clear glottid ? is
sufficiently indicated by the absence of any letter
or symbol of glide. It is only in discussing points
of pronunciation that the clear glottid has to be
distinguished from the check on one hand and the
slur on the other.

CONSONANTS.

VIIL CONSONANTS,

voiced Consonants The nature of consonants
is in so far the same as that of vowels, that for one
whole series of them the vocal chords are set in
action in the same way, and the voice resounds in
the same cavities, so that the only real difference
consists in the modifications of those cavities,
which are of a nature to render the emitted voice
in most (not all cases, entirely unmusical and
unfit for singing. These are called " voiced "
consonants.

Flated Consonants. -In another series of con-
sonants, the voice is not set on at all, but the
larynx being open, merely flatus is modified by
resonant passages, so that the only real difference
of the resulting sounds from flated vowels (p. 56)
is that the resonant chambers are more obstructed.
These will be called " flated" consonants.

Whispered and Gradual Consonants. Of course
the flated consonant can glide into the voiced
consonant, which has the same resonance cavity,
precisely in the same way as the flated vowel into
the complete or voiced vowel, and in the interval
a " whispered " consonant will be generated. The
glide may also take place in the reverse order,
from the voiced through the whispered, to the
flated consonant, and this transition is more
common in English, the first case being common
in German, and neither occurring in Italian or
French. In the case of vowels, as only the voiced
vowel was recognised in writing, this " gradual "
change was marked by prefixing or affixing the
gradual glottid to the vowel sign. The same may

be done with consonants, but as the flated con-
sonant is so common as to have a special symbol, it
may be placed before or after that of the voiced
consonant to shew the change; thus in German
sie's (she it) jzees or szees ; and in English, seas
(plural of " sea ") seezi or seezs.

Mute Consonants. Both of these series of con-
sonants have decided sounds of their own, which
can always be prolonged for a sensible time, and in
most cases quite as long as any vowel. Hence the
ordinary definition of consonants, implying that
they can only be sounded with a vowel, is incorrect.
But there is a third series of consonants which
have absolutely no sound of their own, which are
merely positions that entirely obstruct the passage
of sound, and which are therefore only effective
by forming the initial or final point of a glide of
voiced or flated sounds, both of which glides occur,
the latter being very common in English finals.
These consonants are called ' mute." Both the
" flated " and " mute " consonants are " voiceless."

Systematic Arrangement of the Consonants.
Consonants have been classified in numerous ways.
When all the consonants used by different nations
whose speech has been investigated, are taken into
consideration, or even all the consonants used in
the received and provincial pronunciations of the
four languages here considered, they are so
numerous as to render any classification difficult
and complicated. It will be necessary here to
consider all the received consonants in English,
German, Italian, and French, and some others

CONSONANTS.

Sec. VIII.

whicn occur provincially or arise from imperfect
atterance, because they must be noticed in any
directions for perfect speech and studied when
they occur, to avoid them. The Systematic Table
of Consonants on p. 17 contains only 80 out of
much more numerous forms used in various
languages. The capital letters in the Table
indicate the 23 English consonants, the small
Roman letters indicate the 8 additional consonants
used in German, Italian, and French; and the
Italic letters shew those 49 further consonants
which occur regularly, occasionally, or only pro-
vincially in all four languages, but will have only
to be incidentally mentioned.

Oral and Nasal Consonants. The linear division
is first into two great groups of 70 " oral," and 10
" nasal " consonants. In the first the nose is
entirely inactive, the uvula being pressed firmly
against the back wall of the pharynx. In the
second, the nose is open, but more or less of the
ora A cavity is allowed to act with it, the peculiarity
being that the waves of sound pass into the outer
air through the nose only, by the entire closure of
the mouth at different places, as for the mute 1
consonants, but the resonance is partly oral. In
both divisions the " voiceless " and corresponding
" voiced" consonants are placed under each other,
the three great divisions of " voiced," " flated,"
or " imploded," and " mute," being distinguished
by these names. Some voiced consonants have no
corresponding flated forms in the Table, because
such forms are not in use, although of course they
exist.

Oral Consonants. In the 70 oral consonants
four different grades are distinguished " shut,
central, lateral, trilled."

Shut Consonants, Mute, Imploded, Sonant The

22 " shut " consonants close the aperture of the
mouth against any passage of flatus or voice. The
voiceless series contains the 9 " mutes " proper, as
P, T, K. The voiced series contains the 9
" sonants," or voiced shut consonants, as B, D, G,
in which the voice is set on, but the air forced

from the lungs is unable to escape by the mouth or
nose, and consequently such a condensation of the
air is rapidly produced within the mouth as to
prevent the production of any sound audible
externally. Hence for B, D, G there is an audible
voice sound which cannot be continued beyond a
very brief period without altering the position
which shuts it off. But there are evidently two
other means of producing sound, by driving flatus
into the same aperture, or by suddenly raising
the larynx, or otherwise condensing the air. The
first of these might be distinguished as "flatants"
(flai'tentsj , and the second as "implodents"
(imploa* dents J , which is the name given by Dr.
Merkel (Mae^'hl), the first person who drew
attention to them. The second only are known
to exist in Germany, and also (as I analyse the
effect of the definite article for t'man=d maan)
in Yorkshire, &c. They may be written as B, D,
G, shewing that the condensation of air, which is
the peculiarity of B, D, G, is effected not by th<-
entry of voice, but by the contraction of unvoiced
air in an enclosing cavity. These then form the
4 imploded shut consonants. These sounds are of
considerable importance dialectally, but the singer
has simply to avoid them.

Central Oral Consonants, Hisses and Buzzes.
In the 26 " central " consonants there is an un-
obstructed narrow passag-e left between the tongue
and the palate, forming more or less of a central
groove, as for the EE-position (diagram 8). This
gives to the 13 "voiced" consonants more or
less tbe character of a " buzz," of which Z is
the type; and to the 13 "flated" consonants
more or less the character of a " hiss," of
which S is the type. The groove, however, may
be almost obliterated, as when the soft lip or
tongue touches the teeth, and the breath can only
get through by the yielding of the soft part, as in.
the hisses F, TH, and the buzzes V, DH. These
were placed by Mr. Melville Bell, and after him by
me in the " Standard Cour&e," p. 61, in the next
division, but 1 think that they are far more
suited to this division.

Sec. VIII.

CONSONANTS.

lateral Oral Consonants, or L Class. In the 8
"lateral" (latur'eli consonants there is a central
obstacle, the point of the tongue closely pressing
against the hard palate, round which there is a
tolerably free passage. The type of the 5 ''voiced"
forms is L, the most vowel-like of all the oral
voiced consonants The type of the 3 flated forms
is the Welsh "11" or 'LH, in which one of the
lateral passages (the left) is generally blocked.

Trilled Oral Consonants, or K' Class. In the

14 "trilled" consonants, the central passage is
obstructed by a flexible valve, which is made to
vibrate by the action of the passing air, very much
in the same way as the vocal chords themselves,
but as the valve acts much more sluggishlv and
imperfectly, the result is a periodical interruption
of the passing flatus or voice, known as a "trill."
The type of the 7 voiced forms is R' , the 6 flated
forms are only incidentally in use. Among these
are included two rudimentary forms, t( r and "r,
which are not trills proper.

Contacts and Approximations. The 13 columns
in the Table indicate an arrangement by the parts
of the mouth which come either actually or nearly
in contact for the formation of these shut, central,
lateral, or trilled, openings or obstructions. The
first 12 are arranged from left to right, so that the
point of approximation of the organs passes from
the lips to the extreme back of the mouth ; for the
thirteenth both the extremities come into action.
The names written over each column shew by
what organs the approximation is effected. The
words "point, front, back" refer to the tongue.
The particular action for each caae will be
explained afterwards. This Table of 80 con-
sonants may be compared with that in the
" Standard Course." p. 61, for the English 23
consonants only. In describing the mode of
forming these consonants and their peculiar
powers, it will be most convenient to take them
in the order of the cohunns, which is that of their
physiological formation by contacts and approxi-
mations.

1 & 2. ORAL CONSONANTS WITH LIPS (1) HOUND
AND (2) FLAT.

P. Shut Mute. Lips Round and Flat. The
lips are brought into close contact (diagram 15), as
when breathing through the nose, but the teeth
are kept apart, and the nasal aperture is closed,
unless the following sound is meant to be ori -nasal,
as sometimes happens in French only, as in paon
pakn' (peacock), hence it is generally closed. The
glottis is also closed for the clear attack ? on the
following vowel in received English, Italian, and
French, but many English speakers have the
glottis open for the gradual attack ;, the effect of
which must be considered in the next Section, and
those (chiefly Northern) Germans who distinguish
P and B, also generally use the gradual attack j.
The lungs are ready to emit breath directly the
closure of the lips is relaxed, but not an instant
before ; this is an important point. With the clear
attack, the only one that singers should use, the
lips open, the lungs are compressed, and the voice
acts at the same moment. This should be carefully
studied to avoid " breathiness." Say p?aa, not
pjaa, nor p- h}aa, nor p-fyaa. In closing with the
clear release, the compression of the lungs ceases
as the lip position is reached, as aa?p. If this is
the close of a sentence or phrase, generally the
glottis is immediately opened, and a certain
amount of flatus is driven out to relieve the
speaker, written thus aajph, or a slight " click " is
heard, written thus aa?p, this is neither always
nor most frequently the case. These peculiarities
will be examined and explained in Section IX.
In the meantime observe that when paa, aap are
written, p^aa, aa?p are meant, the clear attack being
the only proper mode of speech for singers, and
the final windrush or click being unmusical and
permissible only on special occasions, to be here-
after examined.

B. Shut Sonant. Nose shut off, lips firmly
closed, voice set on and forced by the lungs into
the cavity of the mouth, which is placed in

CONSONANTS.

Sec. VIII.

readiness for the following sound. As long as the
lips are tightly closed, the voice produces a dull
muffled sound, rather of the nature of a grunt,
which can he considerably altered in effect hy
hollowing or rounding the cheeks and the lips
(keeping their edges closed), and can he continued
for ahout a second, or at most two seconds, hut
will always he finally stopped hy the condensation
of air in the mouth becoming too great to allow of
the proper formation of waves of sound. In
actual practice the sound never lasts beyond a very
small fraction of a second, but it is always enough
to distinguish P from B, that is, a glide on to a
following vowel commencing with absolute silence,
as for P, from a glide commencing with a con-
tinued voice sound, as for B. B is quite clearly
produced in English, Italian, and French, and no
difficulty is felt with it in these languages. But
Germans do not usually distinguish P and B, and
when they are anxious to do so, they use pi or
p-hi for P, and in case of B continue the voice or
"grunt" for some time. Both ihis gradual or
jerked gradual attack and grunt should be avoided
as quite unmusical and unnecessary, even by
Germans, and should never be acquired by English
singers of German. No Germans learn to dis-
tinguish P and B when final. They profess to say
P but very often say B, according to the glides
which occur. See Section IX.

B. Shut, Implodent. This is the sound sub-
stituted for P and B at the beginning of words in
a large part of Germany, and more especially in
Saxony. The entrance to the nose and the passage
through the lips are closed as for P, and even the
larynx is completely closed by the epiglottis, so
that the air in the mouth is thoroughly inclosed,
and has no room to escape. Then by a strong
muscular action the larynx is raised, forming a
piston, which compresses the air, as in a condens-
ing pump, or a common ' ' pop-gun." The result
is a dull " thud," which somewhat resembles the
"grunt" of B, but is yet too different from it to
allow those who know P and B familarly to

recognise either a P or a B sound. When P is
expected a B seems to be said, when B is expected
a P seems to strike the ear. But at the end of
syllables no implodent is possible except as follow-
ing a mute, and hence only P is said. On this
German peculiarity are founded many bits of fun,
the German being always made to say exactly
contrary to what an Englishman would say ; but
the fun is often driven further than actual use
allows, as in Leland's " Breitmann Ballads."
Attention is drawn to it here for the use of English
singers, that they may know that this is a local
peculiarity which need not be imitated, and that if
they cling to English use, pronouncing P or B
according to the spelling, they will be as well
understood as Germans themselves, and merely be
considered to have a refined pronunciation. Three
years residence in Saxony has rendered me
thoroughly familiar with a confusion which at
first seems incredible to an Englishmen.

W, V Central Buzzes, and WH, F' Central
Hisses. It is in these that the round and flat
positions of the lips become of importance. The
position of tongue is also different for the W and
V. The voiced forms "W, V are taken first
because they are best known, but the action of the
lips is shewn best in the flated forms WH, F'.
The W is a peculiar English consonant which I
have not met with elsewhere in Europe. The
WH seems to occur in some pronunciations of
Spanish, as Juan Whaan-, but whether this is
received or local or provincial I do not know.
Even in English WH is passing away, and is little
heard even in educated Southern pronunciation.
But many words are distinguished by its use, as
wheel weal whee'l wee'l, which should be no more
confused than : feel veal fee' I vee'L Hence the
singer will have to deal with it as he deals with F,
and make its flatus sensible, though he must
always make it short, because, as long as it lasts,
flatus is always a positive interruption of the
music. For W and WH the lips are brought
together nearly in the high- round position

Sec. VIII.

CONSONANTS.

(diagram 12), but the aperture is closer. The
tongue is high-back or in the oo-position (diagram
5). If the aperture of the lips were the same for
oo and ^v when the voice is set on, an oo vowel
would of course result. Germans, Italians, and
Frenchmen, not perceiving that, the opening of the
lips is too small to admit of anything but a buzz,
treat our w, therefore, as simply the unaccented
initial do of a diphthong. This is of course under-
stood, though felt as an inexplicable foreignism by
an Englishman, who himself hears the Italian
uomo ooao'moa as wau'moa, a sound which would
be also understood, but also felt as a foreignism by
an Italian. The English feels the Italians ooai for
his wai much too "thick." The real difference
lies in the lips. When oo is pronounced the lips
are quite stiff and motionless, their only action is
to ' ' round ' ' or diminish the cavity of the mouth
to make its resonance deeper. But for w when it
is pronounced forcibly (and this is better felt for
iv h, as flatus has more motive power than voice),
the edges of the lips tremble slightly, and the air
inserts itself between the teeth and the lips
(especially the upper lip, and just beyond the-
corners of the lips; blowing them out like a sail,
as may be seen in the mirror, and easily felt by
placing the tips of the fingers lightly at one time
over both the upper and lower lip, and at another
just beyond the two corners of the mouth, while
uttering ivh and w forcibly for as long a time as
possible. Of course, when w is pronounced in the
usual brief manner this " bagging " of the upper
lip is no longer visible, but it can be just felt with
the finger. By uttering ooai wai, ooaa waa, &c.,
in rapid succession this effect may be better
perceived. It was for this reason that the lips
were said to be "round" for W, perhaps "inflated"
or "bagged" might have been more expressive.
On the contrary there is no bagging of the lips for
V, F'. The lips are by contrast "flat." The
tongue is not necessarily raised, as for w, to the
high -back position, it seems indeed to be rather in
the position for the next vowel. The corners of
the mouth are rather pinched in than not, and the

air is driven between the lower lip and the upper
teeth upwards to the edge of the upper lip. If
the hand be held just before the lips when saying
wh and /' forcibly, the different direction of the
flatus is well felt. For /, as is well known, the
lower lip touches the upper teeth, and the flatus is
forced between the lower lip and the upper teeth,
so that not only is the lower lip more contracted
than for /', but the hiss is much stronger. The
blowing for wh is like that of heads of Boreas or
other wind gods, with puffed cheeks and lips ; the
blowing for/' is like the blowing with a thin flat
stream of wind to cool hot tea or soup. For V
it is only necessai-y to set on the voice instead of
the flatus, but the effect in moving the lips is not
so apparent.

The Germans always use V in place of English
W, and of English V, neither of which they are
able to pronounce without much practice. The
consequence is that they seem to say w in English
when v is expected, and v when w is expected. It
is possible that the Londoner's and Kentishman's
confusion of his " w, v " may arise from his
saying v' in both cases. This was asserted by Dr.
Beke, but it is so many years since I have- been
able to hear the sound from lips to which it was
native, that I cannot say positively what they do.
At any rate when a German talks of one vulgar
woman, saying v'aon vtiol-gar' v'uom-en, the
Englishman is apt to hear von wuol-ger vuom-n. I
know two or three Germans, long resident in
England, excellent linguists, who speak English
well and with a good choice of words, who have
got over other difficulties, often thought insuper-
able, and who cannot (or at least do not) pronounce
the English W with certainty. In the North of
Germany V is said to be used even in speaking
High German I have never yet heard V from a
German when speaking his own language. The
sound of V is so much more musical and better
suited to the singer than V, that singers are
recommended to use V for V even in English
singing (not speaking), and at any rate to bestow

CONSONANTS.

Sec. VIII

great care upon its acquisition if they wish to sing
German songs.

W and WH occur in English whenever they are
so written as the beginning of a word (except
words beginning with who, in which the w
is not attended to . V occurs in German wher-
ever w is written at the beginning of a word, and
also in the initial combination " qu-," called kv-'.
F' occurs in German only after P, as in pfahl
(post) pf'aa-l, where the combination is much
easier than pf as pfaa-l, for which the under lip
had to be suddenly drawn back and pressed against
the upper teeth. But most of the educated Middle
and Upper Germans are now learning to use pf.
Some German theorists wish to use /' whenever a
German word begins with v, as von (of), vater
(father), thus f'aon, f'aa-tur'; but I cannot
recollect noticing this in practice ; it may exist in
some districts. Both/' and v" occur as the sounds
of written "f, v" in Hungarian. The v occurs
also for written " b, v " in Spanish. But all four
consonants w, wh, v\ /', are absolutely unknown
in Italian and French.

'BE, 'WK, Lip-trilled Buzzes, 'PR Lip-trilled
Hiss. For ( pr flatus being driven forcibly through
the lightly closed lips, they are made to open and
shut with great rapidity, thus interrupting and
checking the current of air alternately. Babies
delight in the sound of l pr, but the principal
reason for calling attention to it here, is that it
roughly represents the action of the vocal chords
in the larynx, which open and shut in the same
manner, only with much greater rapidity and
perfection. The lips are sluggish and require
much force to move. By controlling the extent
of their vibrations by muscular action, or better
still by a ring of metal, the vibrations may be
confined to the extreme edge. The mouth-piece of
a trumpet, French horn, or Trombone, is a con-
trivance of this kind, and it is this vibration, this
series of puffs, which produces the musical tone.
This tone, therefore, receives its original pitch
from the tension of the lips and force of the wind,

is then reinforced and " qualified " by the
resonance of the cavity of the horn itself. In the
case of the French horn, the performer's hand
inserted at the bell opening, enables him to alter
the pitch and quality of the tones. The analogy
between this and the motion of the vocal chords,
the cavity of the mouth and action of tongue, is
complete, and may serve to render the operation
more evident.

For 'br voice takes the place of flatus, and con-
siderable exertion is required. This sound is
interesting as the voiced sound of 'jt?r, and also
for being used in a very forcible state, with a clear
and almost metallic rattle, for stopping horses bys
German coachmen. In a very tight state, it is
a defective utterance of " r " in England and
probably everywhere, written l wr in Glossic. The
lips for l wr are tight, not loose as for w, with
which it is usually confused, especially in print,
because w is the nearest sound to it, but those
who really use this l wr, resent the notion that they
say w. The tightness of the lip much limits the
amount of trill, and hence makes the sound more
like w, but the sound is generally much more
lengthened than w. This is the drawler's very
rude ve'wr-i 'wroo'd, usually written " vewy wude"
in Punch. It is needless to say that singers must
have nothing to do with 'pr, l br, or 'wr, which are
here explained merely to be corrected.

1. NASAL CONSONANTS WITH ORAL RESONANCE
LIMITED BY ROUND LIPS.

M Shut Hum, and MH Shut Snort. For m
the lips are as for b, but the uvula is advanced
(diagram 22 >, so that the voice passes to the outer
air through the nose only, but is permitted to
resound in the whole interior cavity of the mouth,
just as it does for b, but with the advantage of
a free outlet, when the nose is in a healthy and
unobstructed state. If the nose be obstructed by
pinching the nostrils tightly, the same sort of

Sec. VIII.

CONSONANTS

muffled sound will be heard as for b, but decidedly
qualified by the resonance of the nose, and it will
rapidly cease by condensation Various other
changes of quality can be effected by compressing
the nose at different places and with different
degrees of force, from the end of the bonv part,
down to the nostrils. Such experiments shew the
meaning of nasal resonance When there is much
mucous Smeu'kus) in the nose owing to catarrh
(kataa-r), or cold in the head, the resonance is
much injured, and m comes to sound rather as a
defective b, which may be written bm\ It may be
imitated when there is no cold in the head, and is
said to exist as a usual sound in Westmorland.
The m itself is so vocal that complete airs can be
executed upon it, which are then said to be
" hummed." It will be found, however, in
running the scale up and down upon m, that the
tongue is very active. The lower jaw is depressed
and the tongue low, in the low-mixed position for
the low notes. As the pitch rises, the jaw rises,
the teeth lock, and the tongue rises in the mid-
mixed form (diagram 4), the resonance being
much injured if the tongue is not kept in the
mixed position. The peculiarity of the tone
makes it desirable that singers in general should
not dwell upon it, although as an occasional
variety, musical parts have even been written for
humming; thus Mozart in the Magic Flute has
given a few bars to Papageno (Italian Paa'paa-
jai-noa, but in the original German opera, always
Paa-paagai'noa), which are entirely sung on m, his
mouth being supposed to be closed with a padlock.
Hence m acts as a true nasal (as distinguished from
a French ori-nasal) vowel. The reason why it is
usually classed as a consonant depends upon its
mode of gliding, hereafter described. It occa-
sionally forms a syllable in English, as in rhythm
fith'm, chasm kaz'm, spasm spaz'tn, prism priz'm,
and our numerous " -isms," as sophism sof-izm,
where it forms a distinct syllable. But in the
termination -Im, it ought not to do so, as elm elm
not el-m, film film' not fil'm, because the I is also
vocal, and glides on to it as if it were a vowel.

Some persons even say t(*ttm t j&im, which sounds
must be carefully avoided. But when m forms a
syllable by itself, singers will find it convenient to
follow this hint, and say kaz'u'm, &c., making the
2 buzz very short, taking the chief length of the
note to the vowel u j or u at pleasure, and ending
with a sharp glide on to m. which will be just
faintly touched, so as to have as little of the dis-
agreeable nasal resonance as possible. In saying
kaz'm properly, the buzz of the 2 is heard till
the mouth closes for m, and the uvula being
immediately opened for the nasal sound, there is
merely a nasal glide while the tongue is removed
from the z position, so that no vowel at all is
possible.

For mh, flatus is treated in the same way as
voice for m. It is not an acknowledged element in
any mode of speech. But it is recognised in
English by Mr. Melville Bell in " lamp, ' which he
writes lamhp. The meaning of this will be
understood hereafter, when we come to treat of the
glides.

3. ORAL CONSONANTS WITH LIPS AND TEETH.

F Central Hiss, and V Central Buzz. These
are the only consonants formed by the joint action
of the lips and teeth. The lower lip is somewhat
retracted and pressed more or less tightly against
the lower edge of the upper teeth (diagram 18) and
the flatus or voice being forced between the teeth
and the lip, blows the lower lip slightly upwards
and outwards. The pressure of the lip on the
teeth may have any degree of force, and as it
lightens the lower lip is less retracted, till finally
the flatus and voice passes the teeth so easily that
the ear cannot tell whether / or /', v or v' were
intended. Hence it is not usual to find both v and
v recognized in any language (as they are in
Dutch, where, however, v is rather yo or fv, see
p. 610). In German, for example, though v' is
extremely common, v presents such great diffi-
culties (p. 65) that even Dr. Merkel in describing

CONSONANTS.

Sec VIII.

it shews that he did not appreciate it, and hence
we may believe that those who assert the presence
of v in German are in error. English, Italian,
and French have distinct v but no v\ German has
/ in general use, and f after p, but even this is
becoming lost. The six forms iv h w, f v ', /, v,
are thus distributed

English wh w / v

German f v' f

Italian / v

French / v

In modern Greek where v and not v' is re-
cognised, I have heard all forms from v to v, the
dental character increasing with the vehemence of
the speaker. Probably the same may occur in
Spanish, and possibly the Italian v is thus
descended from an older Latin v\ a change which
has also occurred in the Indian languages.

The singer has to use / in all four languages
here treated, and v in all but German, where he
employs the much pleasanter v\ Of course if the
singer or speaker has no front teeth he must use
f and v 1 in all languages. But singers are bound
to fill up any gaps in the front teeth at least, to
prevent any deterioration in their quality of tone.
In singing, the sound of / being entirely unmusi-
cal, must be reduced to the smallest possible
dimensions, sufficient to make it audible, but real
audibility must be secured, even at the expense of
musical sound, or distinctness of speech will be
altogether lost, because the glide from / would be
confused with the glide from p. The learner must
practise such exercises as faa faa faa, paa pace, paa,
faa paa faa, paa faa paa, with all vowels and at
all pitches, slowly and with great rapidity, taking
care not to make the hiss of / too prominent, and
should place a friend at a distance to inform him
by silent signals, which is heard in each case.
Sounds without meaning should be chosen for this
purpose, in order that the ear of the listener may
not be prepossessed. V and B should be exercised
in the same way, the buzz of V not being too

prominent. Then W and V, a very difficult
exercise, and, still more difficult, V and V. Much
practice is here necessary. The final /and v must
also be especially practised to avoid lengthening
the /, or adding on an / after shortening v, and
thus saying haa'vi or haa-vf instead of haa-v.
Unnecessary flatus must be avoided by the singer
on all occasions.

4. ORAL CONSONANTS WITH TEETH AND POINT OF
TONGUE.

TH Central Hiss, and DH Central Buzz. The
point of the tongue is brought against the upper
teeth so that a small portion of it can be just seen
below them, but the thickness of the tongue rests
against the back of the front teeth, so that the tip
of the tongue is not actually between the teeth
(diagram 25, in which the teeth are represented as
too far apart) ; at the same time the top of the
tongue rests against the side upper teeth rather
tightly, much in the same way as for t, so that
really the greater part of the flatus for th and voice
for dh passes between the teeth and the tongue.
There is therefore not a great deal of difference in
the effect of the hisses of / and th, both being
produced by forcing the- hisses of air between a
tolerably stiff obstruction i^lip for / and tongue for
th}, and a perfectly unyielding obstacle (the teeth
in both cases). Hence /and th are easily confused
The principal difference lies in their effects on a
following vowel. Such a phrase as vat fin fin ov vit
fikfish would be unintelligible in place of dhat thin
Jin ov dhis thik fish, and foreigners do not confuse
th dh with/, v, but with their f and d\ which have
nearly the same position and glide. In Orkney }
Shetland, Kent, and part of Sussex, the words
" the, they, that, those," &c., are pronounced with
d. Under certain circumstances dh becomes d, and
th becomes t in other dialects. Of course, no
educated Englishman is liable to make such con-
fusions.

Sec. VIII.

CONSONANTS.

The sounds of th, dh, are by no means peculiar
to English. Icelandic, Modern Greek, and Arabic,
have both th and dh, Spanish has two sounds
which strike the English ear as the same, and
Danish has dh. But it so happens that these
sounds are utterly unknown to Germans, Italians,
and Frenchmen. For them the simplest rule is,
" place the point of the tongue between the teeth
anti try to say s, z." The result, though imperfect,
is at least always intelligible.

The singer must treat these as he does /, v ;
make the hiss and buzz very short, but audible,
and rely chiefly on the glide. He should exercise
himself with th, dh, in precisely the same way as
with/, v, and should vary the exercise by mixing
all four letters together, as faa thaa vaa dhaa,
faa dhaa vaa thaa, faa dhaa thaa vaa, and so on.
And it is still more necessary for dh than for v
final to avoid the gradual release ; beware of
making bree-dh into bree'dhi or bree'dhth, because it
is very common at the end of a sentence, and
because the final whisper would spoil all delicacy
of effect in singing.

5, 6, 7, & 8. ORAL CONSONANTS, WITH (5) GUMS
AND POINT OF TONGUE, (6;. PALATE AND POINT OF
TONGUE, (7) THE FRONT OF THE TONGUE ARCHED
OR CONVEX TOWARDS THE HARD PALATE, AND
(8) THE FRONT OF THE TONGUE HOLLOWED OR

COXCAVE TOWARDS THE HARD PALATE.

It is convenient to take these four series together
because they are so closely related that one helps
to explain the other.

T, T, ,T Shut Mutes ; D, D', ,D Shut Sonants,
D, D', ^D Shut Implodents. For T the lips and
teeth are open, the upper surface of the point of
the tongue is pressed firmly against the hard
palate, just behind the gums, but not touching
them (diagram 16), and then the outer margin is
spread over the palate and against the teeth, so

as to completely prevent the passage of air
through the mouth, but yet to leave a considerable
cavity between the top of the tongue and the
palate just behind the place where the point of
the tongue is made to touch the palate. The
glottis is ready for the clear attack, but no air is
driven from the lungs till the tongue begins to
move from the palate, just as for P (p. 63 and the
formation of D and D from T is precisely the
same as that of B and B from P (p. 63), and need
not be described again, but D requires especial
notice because it is the only implodent constantly
used in some English dialects. In Cumberland,
Westmorland, Yorkshire, and Durham, the definite
article the is regularly pronounced d or d', and
in Lancashire, Cheshire, Derbyshire, and North
Lincolnshire, it has that sound occasionally, its
regular form there being the simple hiss th. In
such a phrase as " at the door," the "the" sinks
into d in all these counties, as aat d doour', with
very gentle /', which is sometimes quite inaudible.
In singing provincial songs this has to be attended
to, as d or th is not reckoned as a syllable, and
hence has no note allowed to it, but in either case
there is an interruption to the music, which for
general purposes has simply to be diligently
avoided.

The position of the tongue for T, D seems to be
peculiarly English, in Europe, and perhaps in the
world. The Indians recognise it as the same as
that of their "cerebral" (ser-ibrelj letters. But
these are more properly ,T, ,D, for which the under
(instead of the upper] side of the point of the
tongue is pressed against the same point of the
palate, or one slightly further removed from the
gums. This hollows out the front of the tongue
behind the point of the tongue, and gives a
peculiar shape to the cavity above the tongue,
which is also affected by the way in which the
tongue has to stretch out sideways to form a firm
closure with the side teeth. The effect of this
hollowness on the following vowel is rather
marked, so that t taa t daa are really quite distinct
from taa daa. These sounds are mentioned here

CONSONANTS.

Sec. VIIL

because of their connection with other important
sounds in the same column, and because Anglo-
Indians are so much troubled with them. In fact,
our t, d positions lie exactly between the "re-
verted" t t, /?, and the "advanced" t', d', for
which the upper surface of the tongue is brought
firmly against the gums, with the under part
resting against the front teeth, the rest of the
closure being formed with the sides of the tongue
and the side teeth as before. These are the "dental"
t', d' of almost every nation of Europe except the
English, and notably of German, Italian and
French ; and they also occur in India as well as
t t, d. The intermediate character of our own t, d
renders it extremely difficult for an Englishman to
hear the difference between the two Indian pairs
of letters, t', d' and f, t d, although important
differences of meaning exist according as one or
other is used, and I have been told by Indian
Civil Servants who had been many years in India,
that they were unable to hear the difference. Yet
a native Indian who spoke English well and had
been in France, in speaking with me at once
identified his " dental" or " advanced " t', d' with
the French, and his "cerebral" or "reverted"
t t, d with the English consonants. The dental
f, d 1 certainly occur in some English dialects
before r, and especially when tr' follow s, and
listening to a German's sfr'aong for strong may
assist the learner to a right appreciation of the
sound.

After these explanations it will be seen that an
Englishman need not trouble himself with acquir-
ing t' t d' for foreign languages. His own t, d
closely resemble them, and can occasion no mistake,
because they never occur in other European
languages, and are not offensive to the ear. The
chief difference being in the action on the vowel,
and if that is attended to all will go right. It is
only when an Englishman goes to India that he
has to learn the two other pairs of sounds, and
although this is a matter of great practical
importance we have nothing to do with it here.

S, SH, S', T'H Central Hisses, and Z, ZH, Z',
D'H, Central Buzzes. Those who whistle are
aware what changes they produce in the resonance
of their mouth by the motion of the tongue,
which in every position must allow the air to pass
centrally over it towards the lips. For S the front
of the tongue is " arched," that is, it is convex at
the upper part (diagram 19), and the sides are held
firmly "by the palate and side teeth (diagram 28) so
that there is a narrow channel over the upper
surface of the tongue, narrowing still more towards
the point of the tongue and between it and the
hard palate, gums, and teeth. The point of the
tongue is kept quite hard and stiff, and is perfectly
unruffled by the passing flatus. The lower lip is
somewhat retracted. The glottis is wide open.
This is the ordinary so-called "dental" s. Very
little change is produced in the hiss by bringing
the point of the tongue over against the lower
gums, and " advancing" the strongly arched front
to form the very narrow channel between tongue
and teeth. The sharpness of the hiss depends on
the narrowness of this channel, and appreciable
differences of effect are produced by widening it,
among other reasons, because it is then difficult to
keep ihe tongue stiff enough. This " advanced "
form of * is useful as a corrective to those who
have a tendency to lisp, which arises from bringing
the point of the tongue in the first position so near
the bottom of the front teeth as almost to strike it.
When not quite striking, the effect is that here
written fh, and is said to be the sound of " z "
in Tuscan (the best) Italian, when followed by
" i" and another vowel in an unaccented syllable,
as grazia (thanks) grace' f heeaa, vizio (vice)
vee't'heeoa, but this is not the pronunciation
recommended for English singers, who should
use the recognised graa'tseeaa, vee-tseeoa, without
caring even whether the t should or should not be
t\ The true Spanish z is said to have the same
lisping sound, but Englishmen are here recom-
mended to use their own th. Say " cats, nets,
pots, cuts, puts" kats, nets, pots, Jcuts, puots, and
observe the effect of the t on the following s, in

Sec. VIII.

CONSONANTS.

drawing that part of the front of the tongue just
behind the tip, closer to the palate, so that there is,
it least at first, a continuation backwards of that
extreme narrowness, which in the ordinary s lies
only between the point of the tongue and gums or
teeth. This is written s', and is said to be the
true Tuscan Italian pronunciation of initial "z"
in accented syllables, as in zio (uncle) s'ee-oa. The
English speaker is not recommended to attempt
this. He should confine himself to tsee-oa, touch-
ing the palate first and so leading on to the *'
involuntarily. This is also the recognised pro-
nunciation, and is certainly the sound of the
German initial " z," as in zuzuziehn (to draw to)
tsoo-tsoo-tsee-n. This initial combination ts, run on
to the following, and not affecting the preceding
vowel, will require much practice in German and
Italian ; it does not occur in English and French.

In all these varieties of S, the front of the
tongue is well arched, the point is well forward,
and there is consequently no hollowness at the
back. But for SH the typical form of the tongue
is that for 4 T with the under surface of the tongue
towards the palate, which it does not touch,
allowing the air to pass over between this reverted
under surface and the palate, and to eddy, as it
were, in the hollow behind this reverted front of
the tongue. This is the true Indian sA, which is
related to ( t as * is to t. In English, German,
Italian, and French, for sh occurs in all these
languages, the typical form has undergone a little
change, arising from the method in which it was
historically derived, for it is a recent sound in all
these languages, and not primitive, as in the
Indian, Arabic, and Hebrew. For true SH the
point of the tongue is drawn much further back
than for S (as may be readily seen in the mirror
and felt by the probe), and is directed towards the
hard palate at some distance behind the gums
(diagram 26) , so that when looked at in the mirror
the under surface of the tongue is well seen,
shewing that it is not presented to the palate.
The front of the tongue behind the narrow passage
thus formed is consequently rather straight than

hollowed (it is rather too straight, however, in
diagram 26), but it is sufficiently different from
the arched front of S to entirely alter the nature
of the sound. In Germany, certainly, and some-
times in England, the lips are also considerably
protruded for SH, being curved outwards so as to
form a trumpet-bell shaped aperture. This is
very marked in the command hush ! and is so well
known that the mere assumption of this position
of the lips, without emitting any breath, is
generally understood as an order to be silent.
Still this position of the lips is not at all essential
to the production of the sound, and gives it rather
an inelegant 'thickness.' S is a hiss, SH is a
whish, or hush. S or st in English and French, is
in German and Italian, is used to rouse and call
attention. SH in all the four languages is used to
calm, to indicate moderation of sound, or even to
order silence. This arises from the contrast of the
sharp hiss S, and the dull whish SH.

In singing, the hiss S is apt to be very
prominent, especially when final, much more so
than the whish SH. Some singers seem to have a
positive fondness for the sound, though it is
entirely un vocal, and interrupts the music pain-
fully. It is generally possible to recognise the
presence of every s in a hymn, where the other
letters escape observation. The singer must
therefore be very careful to shorten the hiss as
much as possible. It must indeed be heard, but it
should be very unobtrusive. It is so sharp and
cutting that the least touch of it is well perceived.
Hisses and buzzes can be made exceedingly short
by a rapid separation of the parts of the mouth
which generate them. There seems to be a great
desire, however, to retain the position at the end of
words. Hence the singer should practise saying
sees, sais, saas, saus, soas, soos, with an almost
immediate removal of the tongue, lowering it, not
by the muscular action of the tongue, but of the
lower jaw, which will drag the tongue with it, and
render the hiss impossible. The sounds of S and
SH are common in all the four languages. SH is
written sch in German, except before t, p at the

CONSONANTS.

Sec. VIII.

beginning of words, when it is written , as in
stehen spielen, now called shtai'n shpee-len almost
universally, even in Hanover, where stai'n spee-len
used to be heard forty years ago. Occasionally,
however, sh'tai-n, sKpee-len may be heard (see sh'
below). In Italian sc before e, i, and sci other-
wise, and in French ch represent this sound.

The letters Z (with z', dh] and ZH differ only
from the corresponding S (with *', fi) and SH, by
having the glottis closed for voice, instead of open
for flatus. But the narrowness of the passage is
so extremely ill-fitted for vocal resonance that the
effect is that of a strong buzz, even more marked
than for v, dh, and more unpleasant to maintain,
whereas the hisses s, sh are much pleasanter and
easier than the hisses /, th, because the air passes
freely through a narrow but unobstructed passage,
and has not to squeeze through between a sluggish
obstacle (lip or tongue) and an immovable barrier
(teeth^. This leads to some curious results. In
none of our four languages are z, zh primitive
(they have been in all cases historically derived
from other actions, which cannot be here des-
cribed) ; and there is a constant tendency to open
the glottis and let the easier hiss and whish be
heard. In the few English words beginning with
z, of which "zeal, zest, zigzag, zone, zoological"
(all foreigners), are most in use, the z is either
made extremely short, or refined by a gradual
attack, as pee' I or szee'l, with the s scarcely
touched, but no singer should allow himself to sing
jz or sz. In German the initial * before a vowel
is always pronounced with this gradual attack,
except when influenced by a preceding vowel or
voiced consonant (which can only be I, m, n, r' in
German) as sie, sehen (they see) jzee, izai-n, or
szee, szai-n, with the * just touched, as separate
words, but szee zai'n when connected. This
pronunciation, though universal, is not acknow-
ledged, and hence singers may confine themselves
to simple z. In Italian, initial z never occurs
except under the influence of a following voiced
consonant, as sdegno (indignation) zdai'ny'oa or
or szdai'ny'oa, with light *. The

Italian initial combinations which produce this
effect are " sd, sg, sgh, sm, sn;" I have not noticed
it in " si." These combinations do not occur in
French, but I have observed Frenchmen say zmees
for Smith Smith. There are the same words with
initial z in French as in English, and the z is kept
light but pure, as zael, zaest, zeegzaag, zoan,
zao-aolaozheek.

Final z (written " s ") occurs frequently in
English, and if followed by a pause of perceptible
length, has invariably the gradual release, as sins
sinzi or sinzs, scenes see~nzi or see'nzs. But in this
case the z is apt to be made very short, and the *
very long and conspicuous. This is usually pain-
fully prominent in children's singing. Singers
should practise keeping the z pure to the end.
The z itself is certainly quite unmusical, though
not unvocal, and from its bad quality of tone
should never be long sustained. But it must not
be omitted, and must not run off into s.

Final z never occurs in German. It is always a
pure sharp s, whether written " s, ss," as in das
(the) daas, nuss (nut) nuos-, or " sz," as in flusz
(river) fioo's.

Final z never occurs in Italian.

Final z often occurs in French speaking, and is
written "-se," as rose raoz, but in French singing
this becomes raozeo, except before a vowel, so that
it is only in very recent times that any real z final
has been known in this language.

Medial z, that is, z between two vowels, is very
common, and is indeed the usual way of pro-
nouncing a written " s " in that position in all the
four languages.

Many languages have no z, as Spanish, Ice-
landic, Welsh.

Initial zh never occurs in English, but it is
extremely common in French, written " j," as
jejase (I chatter) zheo zhaaz, or "g" before " e,"
as gene (inconvenience) zhaen, geole (gaol) zhoal.

Final zh never occurs in English, but is frequent
in French speaking, through the omission of final
"e," as in age (age) ahzh, but not in French singing,
where this " e " is pronounced, thus ahzheo.

Sec. VIII.

CONSONANTS.

Medial zh occurs in English in a very few words,
as division divizh-en, confusion ku'vfioo-zhen, and
similar words, leisure lezfriuor or lezh'ei, treasure
trezh'iuor or trezh-er, and similar words. It is
an extremely recent introduction. In French it is
very common, as outrager (to outrage) ootraa-zhai.

ZH never occurs in German or Italian, although
SH is common in both languages.

L, L', 'L, ,L, Lateral Murmurs, and LH, L'H,
LH, Lateral Hisses. The common English L is
the true type of the lateral passage in the mouth.
The point of the tongue is pressed firmly against
the palate, as for T, but the sides of the tongue
are free, so that the air can pass between the sides
of the tongue and the cheeks or teeth on both
sides, and in doing so will generally cause both of
the sides of the tongue to nutter slightly (diagrams
20 and 27). The lips are wide open, in a natural
inactive position, and the teeth are well apart.
The whole under surface of the tongue is seen in
the mirror, but none of it touches the palate
itself. The glottis is contracted for voice. If it
is open, and flatus pass through the same position
as for LH, the sides of the tongue are seen to
vibrate much more. This sound of Ik does not
occur in English, but it is not unfrequent in
colloquial French, as table taablh, although the
entire omission of the "le " is more common still,
as taab, in which case the b is lengthened, or
rather, when the b is released the tongue is in the
position for I, so that there is a glide from b to /,
but the I is not prolonged to form a syllable, as in
the English tai'bl ; it is rather absolutely mute,
though the fact of bringing the tongue to the
I position and the glide up to it, convince a French-
man that he really pronounces it. Occasionally,
when very energetic he may do so, but the
recognised form even then is taablh\ the I gliding
on to ti p. 56&) as a remnant of taableo, and any
sound like taab' I is purely foreign, English or
German. This taableo is the recognised sound, and
is the only form used in singing, except when

there is a vowel on to which the I can glide, so
that the hiss Ih be always avoided.

If the point of the tongue be advanced fully
against the gums and top of the hinderpart of the
front teeth, we have the " dental " or " advanced"
L', the only acknowledged sound in German,
Italian, and French, for which, however, the
Englishman may always use his own L, so that he
need feel no trouble in making this distinction.
It is, of course, I'h, the flated form of I', and not
lh, which is really heard in French.

If the under surface of the tongue is brought
against the palate, so that we have a hollow front,
as for k d (p. 69#), we obtain the "reverted" /,
which possibly occurs dialectally in England, but
produces such a disagreeable thickening of the
sound, that singers must be very careful to keep
the front of the tongue well arched for their own
thin/.

In all these I, there is a passage on both sides of
the tongue. By pressing one side of the tongue
tightly against the teeth and palate (as in prepar-
ing to make the click to start horses), that side
will be closed, and the result will be a unilateral
(ewnilat'ur'elj or one-sided I, written l l. The
unilateral effect is heightened by also closing half
of the mouth. The flated form of this is l lh,
which is the Welsh " 11," thus quaintly described
by William Salesbury in the oldest English book
on Welsh pronunciation, in 1567 : " The Welsh
II is spoken the tongue bowed by a lyttle to the
roufe of the mouth, and with that somwhat
extendying it selfe betwyxt the fore teeth the
lyppes not all touching together but leaning open
as it were for a wyndow the right wyke of the
mouth for to breathe out wyth a thycke aspirated
spirite the same II. But and if ye wyll haue the
very Welsh sounde of thys letter, geue eare to a
Welshma when he speaketh culltell, whych be-
tokeneth a knyfe in Englysh : or ellyll a ghoste."
These words are called Wlh'tae'lh 1 ae'lht''lh in
Welsh. Many Welshmen deny the unilateral
character, but my Welsh teacher (a clergyman at
Beaumaris, in October, 1857) insisted upon it.

CONSONANTS.

Sec. VIII.

This consonant is the only one in Welsh which
offers any difficulty, and has often to be imitated
by English people, who also sing Welsh songs.
The usual English imitation thl, as Llangollen
Thlangoth-len for 'Llaangao'lhaen, is very in-
adequate.

The English L is the most vocal of the English
oral consonants, and may itself form a syllable, as
in little lit-l, tackle tak-l, apple ap'l. But the
resonance is not agreeable enough for singing
upon, and hence it is preferable to say lit'tt'l,
tak-u'l, ap-u'l, giving the principal part of the note
to ' and closing with a sharp glide on to I, which
is briefly but audibly sustained, as previously
explained for vocal m (p. 67#). In speaking, how-
ever, I is purely vocal after p b, t d, though a slight
vowel, or at least a distinct glide, is perceptible
after k g. Thus in apple, babble ap-l, bab'l, the
lips are closed for p, b and the tongue put into the
proper position for I, at the same moment, so that
when the lips are opened, there is only a short
glide and the I alone follows; whereas for ap-u'l,
bab'u'l, the lips are closed for p, b and the tongue
put into the position for u' (or u at pleasure) at
the same time, so that on releasing the lips, there
is a glide on to u', and then one from u' on to I,
and however short the u' may be, this is percept-
ibly different from a glide on to I only. Again for
little fiddle lit-l fid'l, the point of the tongue when
in the t, d position is also in the I position, and
without removing it at all, we simply release the
sides of the tongue, and there is the smallest
possible glide heard during this motion, after
which a pure I remains. But to introduce any
vowel, as u 1 , between t, d and I, the point of the
tongue must be removed and replaced. However
rapidly this may be done, a totally different effect
is produced, and this is written lit'u'l fid-til. In
the case of tackle, higgle tak-l, hig-l, the contact of
the tongue for k, g, as we see by diagram 17,
renders the placing of the point in the po&ition for
I impossible without previously releasing the back
of the tongue from the k, g position, and there is
therefore an exceedingly short time for which

there is a completely unobstructed passage, so that
some obscure vowel of an indeterminate character
results. In singing we may hold this as tak-u'l,
hig-u'l, but in speaking we do not hold it, and
hence have only the effect of a glide lasting for a
longer time than in the other cases.

This vowel / is common in German, and in
Austrian names it is commonly written without a
vowel, as Ischl, Gungl eesh-l, guong-l, but in
common words it is written el, as in bibel beeb-l
(Bible), fackel faak-l (torch), wandel v'aan-dl
(walk). But even here the theoretical pronuncia-
tion is ail, as beeb-ail, f dak-ail (which is really
never used in actual speech), and beeb-ul,faak-ul,
v'aan-du'l are quite admissible, in fact preferred in
declamation, and necessary in singing. In usual
Glossic we write beeb-el,faak-el, v'aan'del.

No vocal I occurs in Italian or French.

B', B", ,B Point Trilled Buzzes, and U B Point
Bise, B'H, B"H Point Trilled Hisses The first
difference between the English initial R' and L is
that the passage for air is central in R' (diagram
28) and lateral for L (diagram 27). The next
difference is that the sides of the tongue vibrate
slightly for L, and the point of the tongue vibrates
more strongly for R' . The position of the tongue for
R' (diagram 21) andS (diagram 19) is very similar.
The whole back and part of the front is almost
in the same position for T, S, and R' (diagram 16,
19, 21) being fixed firmly against the palate and
side teeth for T. But in T the point of the tongue
stops the passage by being pressed up against the
palate ; for S it narrows the passage by being held
stiffly near the gums and teeth ; for R' it is held
loosely in the same passage, across which it can
"flap," so as at one time, when the point bends
down, to admit the air to pass more freely than for
S, and at another, when the point turns up, to
check it almost as much as T. This " flapping "
or vibrating of the tongue is too rapid to be
effected by a " voluntary " muscular action, and
the incapacity which so many persons feel to
" trill their r's " arises from attempting such an

Sec. VIII.

CONSONANTS.

action. The " trill " of the loose point of the
tongue seems to be produced just in the same way
as in a loose piece of paper held in a crevice
through which the wind "blows. (I once had this
effect provokingly produced "by the loose end of a
piece of wall-paper which came just over a little
chink between the window-frame and wall of my
bed-room , the result being horrible groans and
moans on a windy night, of which it was difficult
to discover the origin). By holding a piece of
paper in the crevice of a window slightly open
when there is much wind, this fluttering is easily
seen. The fluttering of flags on a windy day is
another example. The loose point of the tongue
is really placed in a crevice through which wind
is driven, and if we only take care to leave it
sufficiently elastic, by relaxing the muscles of that
part while the rest remains stiff, it will be rapidly
driven to and fro by the passing air, and produce
the required "trill." On one occasion, many
years ago, when I was explaining the phonetic
method of teaching to read before a class of
teachers at the Home and Colonial Schools with a
class of very young children to exemplify my
teaching on, I found that three of these children
could not " trill their r's." I succeeded after about
a minute in making each of them trill an r' very
intelligibly by these directions. " Say z. Buzz it
well." The children were delighted with the
buzz, and it is important for them to continue it,
and make it strong, because it causes the point of
the tongue to tingle, and they thus become
concious that it is resisting an obstacle. " Now
then don't you feel the end of your tongue rather
queer ? Hadn't you to hold it very tight ? Very
well, now then buzz again and let the end of your
tongue go loose and be comfortable." And the
trill came out at once. Another way of acquiring
trilled r 1 before any given vowel, as in r'aa, is to
repeat daa daa daa with the greatest possible
rapidity, trusting to increase of speed to make the
d imperfect, and hence to arrive at something like
r . This is the method usually recommended, but
it appears to me inferior to the other, first because

it is accomplished by a voluntary muscular effort,
and we merely wish to render a membrane in-
voluntarily obedient to an external force, without
any use of muscle ; and next because the tongue
in saying r never assumes the completely checking
position for d ; and lastly, because the utterance of
any vowel, as aa after d, requires the tongue to be
entirely removed from the molar teeth and then
returned to it, whereas for r' the tongue must
never leave the molar teeth, so that we are
training our muscles falsely throughout.

For R' the glottis is closed for voice, but the
sound is constantly interrupted by the trill, which
is not fast enough to produce a musical note (as
for the wall-paper in my window-frame) but gives
the effect of " beats " in music, as when two notes
of almost the same pitch are sounded together.
This is vocal enough to be sung upon (as in the
voix celeste vwaa sailaest stops of an organ or
harmonium) but by no means pleasant. Hence in
German, Italian, and French, where the trill is
naturally much stronger than in English, it should
be considerably softened, by decreasing the extent
of the swing of the vibrating parts, which
diminishes the sharpness of the beat, and also
decreasing both the rapidity of the vibrations
and the length of time that they last. Still the
trill must be heard. In English it occurs only
and always before a vowel, and is replaced by the
"vocal r," that is, the vowel u or ' in other
places (p. 53). For this reason in the most
ordinary English Glossic it is sufficient to use r
for both the vocal and trilled effect, thus roa-rring
for r'oa'rr'ing, that is, r'ao'ur'ing. (" Teacher's
Manual," p. 202). But this double use of r has
been purposely avoided in the present treatise
where it was important to draw the. attention of
Englishmen to the distinction. The difficulty
which they experience in German, Italian, and
French, and more especially Italian, is to pronounce
a clear and distinct trill when no vowel follows, with
either a long or a short vowel before this trill, as
Italian veer' too", French vaer'tue, and if necessary to
" double " the sound, as Italian gooaer''r'aa gueria

CONSONANTS.

Sec. VIII.

(war). No shade of an introduced vocal r, or
really vowel u, it , must be introduced. The vowel
must glide on to the r' as clearly and sharply as ou
to a d or z. It is by means of d and z that this
effect can be best acquired. Practise aad, aaz,
aar' aadz, aadzr' ', and so on with all vowels.

The tongue is sometimes more advanced than in
diagram 21, so that in the upper movement of the
tongue it approaches the teeth rather than the
palate. This gives the " dental " or "advanced"
trill r", which properly occurs after a real (thus
8t'r"ai for st'r'ai stray, the common str'ai], in
dialects which use t\ The singer need not trouble
himself with it. Whatever his natural trilled r'
may be, provided it is trilled, and made with the
front of the tongue arched he may use it. But
there is another trill made with the front of the
tongue hollow, as it is for t d (p. 69 j and zh (p. 7l),
and this is the West of England t r. For this /
the tongue is " reverted," and the trill is made by
the under surface of the tongue flapping to and
from the palate. The effect is extremely rough
and disagreeable, but very characteristic of the
locality. Any inhabitants of districts where it is
used should correct the habit if possible, especially
in singing, where it greatly spoils the effect of all
vowels which it follows.

If, however, the reversion is not more complete
than for sh (diagram 26), the point of the tongue
being only slightly raised, the effect, though de-
cided, is not by any means so bad. But when voice
passes over the tip, stiffened to such a degree that
it cannot vibrate, the effect is not unlike the vowel
M itself. This is Mr. Melville Bell's untriUed ,.r,
or " rise," as I prefer to call it, which on this view
of its formation is a mere modification of t r t and
hence may be regarded as a " rudimentary " trill.
For convenience this tt r may be classed among the
trills themselves, although it is really an imperfect
or "pervious" t d, bearing the same relation to the
" impervious " t d itself as v' to b, or gh to g. Mr.
Bell considers that this is the true form of " r " in
English wherever it occurs, initial or final, only in
the latter he considers it " a semi-vowelized sound

of (t r ("Visible Speech," p. 70), which may be
considered as sufficiently distinguished by position.
Thus he writes: Agrippa, art, permitted, for,
stretched, forth, answered, as Aag tt rip'aa, ah (t rt,
pe 1 it rmit'ed) fo i( r, st t( raetsht, fao (t rth, a''nse' (( rd,
which I pronounce Ugr'ip'u or Agrip-a\ acrt,
pumit-ed,fauu, str'echt, fao'uth, aan-sud. The real
difference here is as to the use of r 1 or u r, the
vowels are of no consequence, either set being
admissible. To me the use of initial (l r has the
effect of defective utterance, and it occurs to me
that Mr. Bell insisted on his form (l r to instruct
Scotchmen (among whom he had lived so long) to
avoid their very strong trill. In English the
trilled r' must be much lighter than in Scotch or
Irish or Italian, that is, the distance by which it
flaps backwards and forwards must be less, and
hence it must never approach the palate so nearly,
and also the number of vibrations and duration
of vibration must both be less. All this is effected
by diminishing the force of the breath which is
driven through the mouth, and increasing the
muscular looseness of the point of the tongue. In
some of our dialects the amount of trill is barely
perceptible, but there is a something present
different from either any vowel or the rise ,,r,
which attentive examination enables us to appre-
ciate as a point trill. A perfectly untrilled rise ft r
has a singular effect. It is much used in America,
and I have found the name of this country a
perfect of test, a kind of Shibboleth (Judges xii., 6)
for distinguishing even those Americans who
speak most like Englishmen. They always say
ume l( r'iku or a?me it r-ika\ not umer'-iku or
a > mer''ika'.

All these forms of R' would have their flated
forms, such as r"A, r'A, t rh, (( rh, of which the two
first are introduced into the Table, as, in colloquial
French, "-re" often becomes r'h, or more properly
perhaps r"7i, as sabre saabr"h, or still more
colloquially saab, but more properly saabrh', and
in singing, saabreo. Compare the French Ik, lh\
p. 73. The flated t rh, f( rh, I do not remember to
have heard.

Fee. VIII.

CONSONANTS.

5, 6, & 8. NASAL CONSONANTS, WITH ORAL RE-
SONANCE, LIMITED BY (5) GUMS AND POINT OF
TONGUE, (6) PALATE AND POINT OF TONGUE,
(8) THE PALATE AND REVERTED TONGUE.
N, N", ,H, Shut Hums, and NH, N"H, Shut
Snorts. The tongue is placed precisely in the
same position for n as it is for d, for n" as for d\
for ( n as for ( d, but the nasal passage is opened in
the usual way ( diagram 23), and the voice escapes
through it entirely (shewn by experimenting with
the nostrils as for m, p. 66). But there is a
resonance in the part of the mouth communicating
with the throat, and limited by the tongue. The
cavity for n thus formed is much smaller than the
cavity for m. Hence the resonance is not so full.
The difference is easily tried. Hum a few notes
on m, and then repeat them for n without opening
the lips, and finally repeat them for n with the lips
open. The first quality of tone differs decidedly
from the second, but the second and third are
identical, shewing that the part of the mouth
beyond the tongue in case of n has no effect on
the resonance. The n is decidedly more nasal, and
less musical than the m. Still it is possible to sing
on n, which forms a distinct syllable in many
English words, as open, oa-pn, taken tai'kn, lessen
les-n. In the well-known bass song, "The sea!
the sea ! the open sea ! " (words by Barry Corn-
wall, that is, Proctor, and music by Chevalier
Neukomm Sheovaalyai Naorkaom, in English
Noi'kum) there is a long and important note on the
last syllable of open.

ie sea, the sea, e op - en sea

Philips, who was the original singer, always sang
the "en" to n, and the dull nasal effect (I have
heard him sing it) was very disagreeable, coming
as it did immediately after the fine oa. But
Philips contended that the word " open " was
properly pronounced oa-pn, and that it would be
erroneous to say either on,' pew or oa-puw. The
true middle course is to say oa'pu'n. The u' is to

be prolonged and have the main effect of the note,
but just at the end it glides up quickly and briefly
to n, which is just touched before the voice quits the
note. The n is thus made audible, and the effect
is totally different from oa'pu', while the sharp
glides to n in oa'pew, oa'puw are altogether avoided,
so that these disagreeable pronunciations are not
presented to the mind of the listener, and the
horrible change of quality of tone from oa to n is
not heard. This is the method in which singers
are recommended to sing the syllables which con-
tain a simple n. Of course, they will continue to
speak them correctly. Compare the remarks on
vocal m, p. 67 0, and vocal /, p. 740. In such a word
as oa-pn, the syllable on n has no glide leading to
it. The mouth closed for p may remain closed or
open for n, as we have seen, and the tongue
assumes the n position so rapidly after the p
closure, and before the nasal passage is opened,
that no vowel and no m can intervene. To say
oa-pmn, oa-bmn would be difficult even to English
organs. But for oa-pu'n the mouth opens before
the nasal passage opens, and hence an oral vowel
escapes. In the still more common case of vocal
n after t or d t as eaten ee-tn, Newton Neu-tn,
sodden sod-n, wooden wuod-n, there is absolutely no
motion of the tongue in passing from the mute or
sonant to the ??, and hence no glide on to the n is
possible. The nasal passage is opened, and the
nasal resonance is added to the oral ; the utmost
that can happen by way of glide is the passage
from imperfect to perfect nasalisation as the uvula
leaves the back wall of the pharynx. It is, how-
ever, always possible to remove the point of the
tongue and produce a real oral vowel, and hence
as before we may and should sing ee-tu'n, Newtu'n,
sod'u'n, wuod'u'n. In cases like oaken oa-kn,
broken broa'kn, twiggen twig-n, there should also
be the shortest possible glide in passing from k to
n, but exactly as in tak'l, hig'l (p. 740) there is
more tendency to introduce a vowel, and in some
forms, as chicken chick'in, a clear vowel is usually
employed. For listen lis'n, mizen miz-n, the glide
is very short, as the tongue for s, z is already half

CONSONANTS.

Sec. VIII.

arranged for ?/, and the tip has only to be suddenly
thrown up. In kitchen kick-in a clear vowel is
common, but not so in beechen, birchen bii-chn,
berchn, nor in ashen, freshen ash f n, fresh-n, where
the treatment is quite similar to that in lis-n.
And earthen erth-n, heathen hee'dhn are similarly
related to eet'n, but as the th is quite dental there
will be a tendency to use the dental " in prefer-
ence to the real English n ; in fact, there is a
difficulty in retracting the tongue from the th
position (diagram 25) to the n position (diagram
23 , and I find that my own practise is, not to
retract the tongue, but to leave the point against
the teeth, and raise the part just behind it to touch
the gums and palate up to the spot where the
point is usually placed for n. This would not be
the case in foreign languages.

Vocal n" is very common in ordinary German
speech, but it is considered incorrect, and it
should always be replaced by an obscure vowel
' followed by n" t as in English singing, thus
lieben lee-bu'n" or lee'bun", for which lee-bu'n may
be used by English speakers, not lee-bn. In such
words as " meinen " to think) it is common to say
mahyn-^-n, that is, the first n is taken short, and
then there is a perceptible diminution of force,
without a complete cessation of voice, followed by
a new vocal n. It is better, however, to say
mahyn-un, and in singing this is necessary.
Germans profess to say maayn-ain, but this is not
the practice even in solemn declamation. There is
a combination of syllabic vocal I with the usual
non-syllabic n very common in German, which
Englishmen often find difficult, as in nudeln
noo'dln (vermicelli), wandeln vaan'dln (to walk),
where the combination is similar to our fallen
fawln ; or as some persons pronounce kiln (for
which kit is more usual), and like our elm. In
singing and speaking say noo-duln, v'aan'duln not
noo'dlu'n, v'aan'dlun (the usual English error N , and
still less noo'du'lu'n, v'aan-dulu'n. In usual Glossic
we write noo'deln, v'aan'deln.

There is no vocal n or n" in Italian or French.

The snort nh (or n"h as the case may be) is
sometimes heard as a kind of snuffle, and as a
defective utterance of children, and when we
endeavour to clear an obstruction in the nose, by
closing the mouth as for t, and blowing through the
nasal passages. It is no longer recognised as an
element of speech, except by Mr. Melville Bell, in
such a word as tent, which will be considered in
Section IX, but it formerly replaced the " k" in
words beginning with " kn," as " know," and the
pronunciation nhnoa was laid down by some
orthoepists of the seventeenth and eighteenth
centuries, and nhnaa may still be heard in
Cumberland. Of course, singers will carefully
avoid such a disagreeable interruption to music.
The Germans pronounce a pure kn, as in knabe
knaa'bu (bov\

9, 10, & 11. ORAL CONSONANTS, WITH (9) FRONT
AND POINT OF TONGUE AND PALATE, (10) FRONT
OF TONGUE AND PALATE, (11) FRONT AND BACK
OF TONGUE AND PALATE

Y, Central Buzz, and YH, Central Hiss. This
is the only form of this series which is generally
recognised. The tongue is nearly in the same
position as for ee (diagrams 1 and 8), but it is
pressed much closer to the palate at the top,
sensibly diminishing the narrow channel left by
ee between the tongue and the palate, so that it is
difficult to squeeze out any voice at all, and what
reaches the ear is very obscure and broken, so that
it differs materially from ee. Hence it is quite
possible to distinguish ee from yee, although many
people find a difficulty in so doing. It is not an
uncommon English or German sound, as in yea
yai, ja (yes, G.) yaa. In French and Italian it is
replaced by an ee, forming a diphthong of the
third class (p. 48), as cavalier (horseman, F.)
kaavaaleeai, des yeux (eyes, F.) daezeeeo, jeri
(yesterday, I.) eeae-ree. But Englishmen may
without hesitation use their common and familiar
y, and say kaavaalyai, daezyeo, yae-ree, which are
the Glossic forms usually employed.

Sec. VIII.

CONSONANTS.

If flatus is used instead of voice YH results.
This sound occurs only in English, in such words
as hew, hue ytuoo, Hughes Yhiooz, human
yMoo-mu'n, humid yhioo-mid, humour yhwo'mu'r
(formerly called yoo-mu'r). But English orthoepists
have generally failed to recognise it, and consider
that hfioo, hfioo-z, lifioo-mun are the real sounds,
and this was most probably a previous pronuncia-
tion. As singers should always avoid the intro-
duction of flatus when admissible, they are quite
at liberty to say hfioo, hfioo'z, hfioo'mu'n, with the
simple clear jerk, and thus get a perfectly vocal
sound, much easier to produce. In usual Glossic,
therefore, we write heu, heuz, lieu-men, heu-mer.

CH' Shut Mute, and J' Shut Sonant, with the
Consonantal Diphthongs CH Hissed, and J Buzzed,
and their True First Elements TY' Shut Mute,
and DY' Shut Sonant, and Second Elements SH'
Central Hiss, and ZH' Central Buzz. Now
suppose that the extremely narrow channel above
the tongue which is left in y becomes entirely
obliterated by forcing the tongue against the
palate so as to make a complete stop. In order to
do this it is best to plant the point of the tongue
firmly against the lower gums. The result is a
shut sonant consonant J'. In singing j'aa, the
front of the tongue should not be allowed to hollow
in the slightest degree, or else more or less of an
yaa effect would be produced. If the reader
succeeds in making this contact firmly and releas-
ing it well on to the aa, the resulting sound faa
will be almost indistinguishable from jaa, and Mr.
Goodwin (in 1852) considered that this true shut
consonant was the proper sound of the English
;', which is usually analysed as dzhaa. The
voiceless form would be CH', and Mr. Goodwin
also considered this to be the true form of the
English chaa, usually analysed as tshaa. I find
from vivd voce observation that native Sanscrit
scholars actually pronounce the two shut con-
sonants which are interposed in their series of shut
consonants between t t and k, and between t d and g,
precisely as ch', j", and decidedly not as tsh, dzh,

which have evidently no claim to be considered
shut consonants at all. The real Sanscrit series
are k, ch', f, t', p, and g, /', t d, d', b. Now the
object of mentioning this curious sound is to draw
the singer's attention to a possibility of avoiding
the initial unpleasant hiss and buzz of ch, j, in
chest, jest, as usually pronounced, by substituting
ch'est,j'est. The final forms in such age such ai'j,
if treated as such' ai'f simply, would be unin-
telligible. The glide up to ch',j' is so nearly the
same as that up to t, d, that they would be heard
as a variety of su't, ai'd, unless a vowel followed,
or unless some voice or flatus were emitted after
the letters, as is usual with all shut consonants.

Now if we release ch', not through yh (which
would require considerable effort in order to retain
the tongue in its place and groove out the central
channel), but by withdrawing it bodily, so that
the whole upper surface of the tongue ceases to
have contact with the palate, though the point of
the tongue remains planted against the lower
gums, we shall obtain an " arched front " or
S-sound, modified by having the narrow channel
backward instead of forward, and differing from
the " hollowed front " or SH-sound, by having the
principal opening in front of the surface of the
tongue instead of behind it. On the whole this
modification resembles sh more than *. and it is
I hence written sti . (Its position in the 9th column
j of the Table C, p. 17, though most convenient, for
a reason, to be given presently, is not quite correct ;
the natural order is rather *, sh', sh.) This sound
of sh' is said to be the true Tuscan Italian pro-
nunciation of Italian ce in cinque (five) sh'eeng--
kooai, dieci (ten) deeae'sh'ee, which sound to an
Englishman as shing'kwai dyae-shi, and for which
he is recommended to use the theoretical sounds
cheeng'kwai, dyae chee. But if a final ch' be released
upon sh' very lightly, thus such'sh' no Englishman
would find any fault with the pronunciation for
such, and if a vowel followed, as in touching
tuch'-ing, even this release is not necessary. My
own impression is that ch in English is not ch'
nor ch'sh', nor tsh nor even quite tsh'. I find on

CONSONANTS.

Sec. VIIL

carefully watching my own pronunciation of such,
that I do not begin exactly with sut, for which the
point of the tongue alone should touch the palate,
but that in reality both the point and part of the
front of the tongue lie on the palate, which is indi-
cated by tif in column 9, p. 17. This ty' generally
arises from some ee or I following t, as in nature
nai'fiuou. When ty* is released, it is not easy to
go to the position sh, for which the tongue is more
or less bent in exactly the opposite direction, being
concave instead of convex to the palate ; but it is
very easy to drop to stt as already described, and I
find that I really say suty'sh'. Indeed this way of
deriving sti is most convenient for Englishmen*
and for that reason I took the liberty of putting
ty' and sK in the same column of Table C, p. 17.
Between cA'sA' and ty'sh 1 there is no practical
difference, and either may be considered the
analysis of ch, which will always be used in
writing. But tsh is no. doubt not the analysis,
although it has been generally assumed so to be.
By merely using the voice instead of flatus, we
obtain fzti or dy'zh' , and not the old dzh, as the
analysis of J, which will be always written.
Observe, however, that when j is final and is not
followed by a vowel or voiced consonant, it is very
usual to substitute dy'sh 1 for dy'zh', probably
because zh never occurs finally in our language.
Thus ' do you know his age ? ' would be generally
pronounced colloquially dyuonoa'izai- dy'sh' ? The
singer should avoid this flatus, and endeavour to
sing ai- dy'zh', which is what is meant by writing
ai'j. The habit, however of saying ai-dy'sh' and
the difficulty of uttering zh final, will render this
rather troublesome at first.

These observations explain also the old deriva-
tions of ch,j, from ty, dy, and the English habit in
" nature, verdure," &c., of introducing a ch and j
sound as nai-chu' , vwju (in common Glossic,
nai'cher, ver'jer). The change is from nal'tiuou,
vu'dluou through nai'ty'u , vu'dy'u' to nai'ty'shu' ,
vu'dy'zh'u', that is nai-chu', vu-ju'. But on the
principle that the singer should avoid hisses and
buzzes whenever he can, he should distinctly say

nai-tluou, vu-dluou, or in common Glossic nai'teur y
ver-deur. This is also recommended as far the
pleasantest and most desirable pronunciation in
public speaking.

The sounds represented by ch, j, wherever they
are written may be considered the same as in
English, however they are really pronounced,
because the differences are so slight that long
practice would be necessary to acquire them with
certainty. The ch is found in German, as deutsch
(German) doich, Zschokke name of a German
author) Ghaok-u. But j is never found in that
language. Germans use ch for it when initial, and
generally also when final, but sometimes say dch
when final, as Ch dor dch for George

Italians have both ch and j (or the substituted
forms sh', zh"), and when these sounds have to be
doubled the first is taken either consciously as
f, d', but possibly in reality as ty' and dy', or else
ch j and j' respectively. Thus cielo (heaven)
chae'loa or chyae'loa, ciarla (chattering) chaar'-laa ;
caccia (chase) kdat'chyaa ; gemito (groan/ jae m -
meetoa, giusto (j\ist)joo'stoa, oggi (to-day) aod-jee.

The French have neither eh nor j except in
foreign words, where they are written "tch, dj,"
meaning tsh, dzh. But there is great reason to
believe that ch, j were the sounds of the present
French initial sh, zh (written " ch, j ") at the time
of the Norman conquest, and even much later.

KY' Shut Mute, and GY' Shut Sonant, with
their Derivatives KY'H Central Hiss, and GY'H
Central Buzz. More closely connected with yh, y
than all these forms, and absolutely confused with
them occasionally by German writers are ky'h,
ffy'h. In the older pronunciation of English, which
may still be heard, a kind of y is introduced after
k and g before an aa sound, as cart kyaa't, guard
gyaa'd, sky skyadi, which often passes into
kyeeaa-t, gyeeaa'd, skyeeaal, and is sometimes made
much more prominent, as skyee-yaai -to be avoided
as a nightmare by all singers. On careful examin-
ation, however, it appears that there is not a
successive action of k and y, or y and y, but that
the back and half the front of the tongue He on

Sec. 7IH

CONSONANTS.

the palate, producing ky ', yy\ the exact counter-
parts of ty\ dy\ in which, the point and half the
front lay on the palate, so that ty', ch\ ky' form a
graduated series of positions. This consonant re-
leases most easily on the vowel ee, and hence
introduces that sound. In Italian it is not
uncommon in the so-called close diphthongs
(p. 450), as chiacchierone (immense chatterer)
ky'aakky'airoa-nai. But ky\ gy' need never be
anxiously distinguished from ky, gy.

Bring the tongue into the position for ky\ gy\
and then make a little channel in the middle for
the air to pass, as for yh y, and the result is ky'h,
ffy'h. The position clearly differs from that for
yh, y, only by having the back part of the tongue
high as well as the front part, but this difference is
appreciable by a sensation in the soft palate for
ky'h which is absent in yh. The distinction,
however, is very slight, and requires much
familiarity both with hearing and speaking the
language to understand thoroughly, so that
Englishmen may certainly use their own yh for
ky' h. Thus madchen (girl) mae'dky'hen or mae'd-
yhen, ich (I) eeky'h or eeyh, nicht (not) neeky'ht
or neeyht. But it will not be sufficient to use y
ior ffy'h The ffy'h when strictly pronounced, is
very sensibly rougher than y, as general gy'haen-
airaa'l, not yaenairaa'l ; fliegen (to ny)fae'ffy'hu'n,
not fae-yu'n ; berge (mountains) baer' -gy' hu ,not
baer'-yu'. "Whenever y is thus used for ffy'h,
although intelligible, it has a ludicrous under-bred
effect on a German ear. It is far better to use a
common g, and say gavnairaa'l y jlee'gu', baer' 'gu , as
is done in the North of Germany. It i8 only in the
termination "-ig" that y may be used by preference,
as konige (kings) keo-neegy'hu or keo-neeyu or even
keo'nyu. The consonant ffy'h is always ky'h when
final, as konig (king) keo'neekyh or keo'neeyh.

The consonants ky'h, ffy'h are unknown in
English, Italian, and French. To an Englishman
they at first sound like sh, and many find it
difficult even after weeks of residence in the
country to believe that Germans do not say ish,
velsh, for eefy'h, v'aelky'h. The consonant ky'h

occurs in booted afte-r ee, ae, e sounds, as nicht
(night) neky'ht.

The singer has to make the ky'h hiss as short as
possible, but the glide must be distinct. The gy'h
becomes better by being taken as g or y, as last

LY' Lateral Buzz. Assume the position for ty 1
already described, and loosen the contact between
the tongue and back side teeth, so that there is a
small exit for the air on each side of the tongue.
Or else assuming the position for I (diagram 20),
draw up the front of the tongue (the part im-
mediately behind the point) and bring it in contact
with the palate. The position would then be a
mixture of diagrams 20 and 1, with 27 instead of
8 ; so that it might be described as an attempt to
pronounce I and y at the same time. But it is
essential that there should be a passage on each
side of the tongue. Close the glottis for voice.
On driving voice through forcibly, there is a con-
siderable rush on each side out of the narrow
opening, causing very perceptible trembling of the
sides of ^he tongue, and generally a bubbling of
saliva, so that the sound is anything but pleasant,
and should be retained as short a time as possible.
It is very unlike the vocal resonance of I. On
releasing the tongue on to an aa position, as ly'aa
somewhat of an ee effect seems to interpose, and in
Italian, where the consonant is common, it is
always released first on an ee, as gli (the, or to
him) ly'ee ; paglia (straw; paa'ly'eeaa ; orgoglio
(pride) aor'gao'ly'eeoa. In Spanish, where it is
also common, the ee is not written, but is heard all
the same, as llano (plain) ly'eeaa-noa. The sound
used to exist in French, and Littre in his great
French Dictionary, insists on its being always
pronounced, but it has quite vanished from
received French pronunciation, and is replaced by
ee or ee, forming a diphthong with the preceding:
vowel, see pp. 45, 46i, 47.

The sound ly does not occur in English, but in
saying such words as million mil'yen, brilliant
brilyent, if the I is dwelt upon, and thus doubled,,

CONSONANTS.

Sec. 7III

ly' may be generated by the way, thus mil'-
l-ly 1 -yen ; but this is unusual. In German the
sound is unknown, and Germans are apt to replace
it by ky'h or yh when final, as email aimaayky'h
or aimaayh, for aimaay (enamel).

The singer must not dwell upon the very un-
pleasant buzz of ly\ but pass rapidly to the ee, and
if he finds a difficulty, simply endeavour to say ly,

9. NASAL CONSONANT, WITH FRONT AND POINT
OF TONGUE.

NY' Shut Hum. The tongue is put into the
position for ty', but the passage to the nose is
open. This leaves a small and rather peculiarly
shaped aperture at the back of the mouth, which
modifies the nasal resonance, rendering it sensibly
worse, and hence not one fit to be sustained. The
effect of the initial consonant is almost ny, and of
the final consonant almost yn ; thus Englishmen
often call Boulogne booloi-n in place of boolaony"
and hear Montagne as montei'n instead of moan'-
taany' . But such errors must be carefully avoided.

NY' does not occur at the beginning of words in
French, and in the middle of words it constantly
releases on to a vowel, as gagnons (let us gain)
gaany'oari , very nearly gaan-nyoan' , not gaan-yoari 1 ' .
In singing ny' always releases on to a vowel, as
moan'taany'eo, almost moan tadn-nyeo . And as this
is allowable even in speech, the English speaker or
singer can always use ny if he prefers, and should
never use the atrocious yn.

In Italian NY' rarely occurs at the beginning of
a word as gnomo (a gnome) nyao-moa, but it con-
stantly forms the beginning of a syllable, as
bisogna (business) beezao-ny aa. It never occurs
finally. Hence the Englishman can still use his ny.

NY' never occurs in English or German.

12 & 13. ORAL CONSONANTS, WITH (12) BACV 3*
TONGUE, AND (13) BACK or TONGUE AND LIPS.

K, KW Shut Mutes, and G, GW Shut Sonants,
and G Shut Implodent. For K the tongue is
brought nearly into the position for oo (diagram 5).
but makes a firm contact with the soft palate above
the tip of the uvula. On looking into the ope^.
mouth, by means of the mirror, it will be seen that
the contact is really so high as to conceal the
arches of the palate completely, the whole back of
the tongue resting on the soft palate, and com-
pletely preventing the passage of air. The K is
absolutely mute, and becomes effective merely by
its glide on to or off from a neighbouring vowel.
The glottis is closed for the clear attack thus fyaa
not for the gradual as kiaa, nor for either a jerked
clear attack k-hfaa, or a jerked gradual attack
k-htaa, and hence not k-haa. The formation of G
and G from K is precisely the same as that of B
and B from P (p. 640) , and the implodent has no
particular interest, for it is not used either in
England or Germany. The size of the air-chamber
behind K is almost quite confined to the throat,
for nearly all the mouth is cut off by the contact
of the back of the tongue with the soft palate.
Hence G can be sounded for a much shorter time
than B, for which the air-chamber extends to the
lips.

For K, G then only the back part of the mouth
is occupied, and the lips are free. To bring out
the effect fully the lips should be quite open
diagram 11). But it is evident that a great con-
trast would be effected by making them assume
the high-round form (diagram 12). The result is
written KW, GW, as in queen kw'een, guano
gw'aa-noa. The effect is different from kwee-n,
ffwaa-noa, and also from kooee-n, gooaa-noa. For
in the first case (kw ) there is a glide from k and
w at the same time, in the second (kwj there is
irst a glide from k to w, and then from w, but few
persons appreciate this difference, and hence in
ordinary Glossic it is enough to write kwee'n^
gwaa-noa. In the third case, which is that of the

Sec VIII

CONSONANTS.

[talian quanto (how much) kooaan'toa, guanti
(gloves) gooaan'tee, there is distinctly a vowel (ooj
following the k, g, and not a buzz (w), but yet for
ordinary purposes we find it enough to write
kwaan'toa, gwaan'tee, so that ordinary Glossic
kw, gw have really three values, unless specially
noted. In Italian then kw', gw' are replaced by
koo-, goo-. In German kw' is replaced by kv', as
in quast (tassel) kvaast, quer (transverse) kv'eer',
compare English queer kw'eer. In a few French
words, however, I am inclined to think that true
kw',gw' occur, as coiffeur (hair -dresser) kw'aafeor',
coin (corner) kw aen' , goitre (swollen neck)
givahtr" '. And in precisely the same way, by
closing the lips to the high-round form, while the
tongue says t, d, r , s, we get tw' , dw' , rw 1 , sw',
which seem to occur in French toi (thee) tw'aa,
doigt (finger) dw'aa, roi (king) r'w'aa, sole (silk)
sw'aa, and similar words. In all these cases,
however, oo or w is the recognised form, in place
of w' , and may be also said. Compare the fourth
class of diphthongs, p. 49#, where the existence of
tw , dw' in English is indicated.

KH, KW'H Central Hisses, and GH, GWH
Central Buzzes. Assume the position for K, and
then slightly loosen it, so that a very thin stream
of air can squeeze itself between the back of the
tongue and the palate. Watching the tongue in
the mirror as this loosening is effected, the very
slight forward motion of the whole tongue by
which it is done may be easily seen. When
flatus is expelled the result is a peculiar hiss,
which is not sharp as for *, because the palate is
here quite soft, and the hiss is often accompanied
by a slight rattle of moisture, which is always
more or less to be found in this position. This is
the German ch in ach aa'kh (ah!) doch daokh
(however), and always after sounds of aa, oa, ao.
It never occurs at the beginning of a syllable in
German. It also occurs in Scotch in similar
positions. After the vowel oo, the lips are often
left round when the kh is pronounced, and the
result is kw 1 h, which bears the same relation to

kh as kw' bears to k (p. 82), thus auch aawkw'h
(also), buch boo'kw'h (book), but as this effect has
not been generally acknowledged, a simple kh may
be used, as aawkh, boo-kh. If voice is driven out
instead of flatus we have gh y gw'h, as in tage (days)
taa-ghu, taugen (to be worth) taau-gw'hen or
taawghen. This voiced sound gh is often found
much more difficult by English people than the
flated kh, but it is used by Germans as much softer
and pleasanter than the sonant g. As however in
the North of -Germany g is always used, as taa-gu,
taawgen, English singers may employ it in
German songs. Gh never ends a word in German
unless the next word begins with a vowel, but it
makes the preceding vowel long, and becomes kh,
as tag (day) taa-kh, taugt (is worth) taawkw'ht or
taawkht, and if the g sound of gh is used, it may
become k, as taa'k, taawkt, but this is very harsh.
When ' ch ' is written in German, k must never
b employed. The sounds of kh, gli are unknown
in English, Italian, and French. It is necessary
to distinguish carefully between these sounds
kh, gh, or kw'h, ffw'h, and the ky'h, gy'h
already explained (P-80^), because there is no
difference in spelling, and everything depends
upon the preceding sound. The kyh, gy'h are
heard after the palatal vowels ee, ai, ae, tte, eo, oe
and after r", I, n ; and kh, gh may be taken in all
other cases, since kw'h, gw'h are not recognised.
In the diminutive syllable " chen," kyhen is said,
but no other syllable begins with ky'h in German,
and no syllable begins with kh or gh.

'B, 'GH Back Trilled Buzzes, "R Uvula Rise,
'RH, 'KH Back Trilled Hisses. While the nasal
passage is well cut off by pressing the upper part
of the uvula against the back wall of the pharynx
(p. 210), the lower part of the uvula is free, as
shewn in diagram 2. If this part be now advanced
so as to lie almost upon the back of the tongue,
and be left quite loose, the stream of air passing
between it and the tongue causes it to flap or
vibrate. Much difference of effect is produced
according as there is little or much moisture and

CONSONANTS.

Sec. VIII.

according to the hardness of the uvula or its
freedom from the tongue, and according as there
is a more distinct sound of kh, gh in union with
the flated 'rh and voiced 'r. When the tongue is
raised to the position of kh, gh, the effects,
which are written 'kh, 'gh, occur in Swiss German
for kh, ky'h, and gh, gy'h, and need only be noted
to be avoided, though they are recognised sounds
in Arabic. When the uvula is made too stiff to
flap perceptibly, but lies above the tongue, it
slightly interferes with the passage of the vowel
and produces an effect analogous to the point rise
(t r (p. 76#) which may be called the uvula rise, and
written "r. It is heard in South Northumberland
between vowels, so that " very " becomes vaa"ri,
and at the first moment the sound seems to be
vaa~-i, but on close attention the little roughness
produced by "r will be heard. The full " uvula
trills," 'r, 'gh, are extremely rough, coarse, and
unpleasant in English speech, and barely in-
telligible in some words. They are indeed not
recognised in any of our four languages, but are
nevertheless in constant use in German and
French, and in Northumbrian English (in the last
of which the 'r is even labialiscd as 'rw'}, but not
in Italian. Their nature has to be known in order
to be carefully avoided, if possible, especially at
the ends of words, where they are especially dis-
agreeable. They may be heard from most
Germans and Frenchmen who speak English, and
noticed especially in final " r," which of course
is not trilled at all in received pronunciation, thus
'where' in the mouth of a German is apt to become
v'ae-'r'rh, the voice being quickly abandoned in
final 'r, and the flated 'rh being chiefly heard.

12. NASAL CONSONANTS WITH BACK OF THE

TONGUE.

NG Shut Hum, and NGH Shut Snort. Place
the -tongue in the position for Jc, but open the nasal
passage ^diagram 24), the mouth may be open or
shut. When voice is allowed to pass, there is a
peculiar hum on which it is possible to produce

musical sounds. Experiment with the nostrils as
for m (p. 670). Try the various nasalities m, n, ng,
by keeping the mouth shut and humming on them
in succession, thus, assuming any easy pitch

m n ng n m ng ng m n
and observe how much more resonant m is than
either of the others, and n than ng, owing to the
difference in the size of the resonant portion of the
mouth, and how much more nasal, reedy, and
unpleasant ng is than either of the others. The
singer should consequently avoid prolonging it,
but, when necessary, should prolong the preceding
vowel and make the final glide conspicuous, thus
not sung' with ng lengthened, but su'ng with u
lengthened.

The consonant ng never occurs at the beginning
of words or after long vowels or diphthongs in
English, where ing, ang, ong, ung are the only
combinations known, as in 'sing, sang, song,
sung.' But in German it is also found after ee, da,
de, uo, as singen, sang, gesange, gesungen ^to sing,
sang, songs, sung) zeeng'en, zdang, gezdeng'u,
gezuong'en. Observe that in English when ng
comes between two vowels, g is sometimes added
and sometimes not, as longer (more long) long-gu,
(one who longs) long-u. In German the g is never
added, as langer (more long) laeng-ur" ', finger
feeng'ur*. At the end of words it is provincial in
English to add on a g, as song songg, and quite
vulgar to add on a Jc, as nothing nut h' ing k. In
German the Jc final is not unfrequently added on,
as gesang (song) gezdangk, which some poeta even
make to rhyme with dank (thank) ddangk, but as
the usage is not admired in Germany it need not
be imitated. NG never occurs initial in German.
In Italian ng occurs before a following k or g, as
franco (free/ fr'adng-koa, ringhiare ;to gnash the
teeth) reenggeeaa-rai. The sound is unknown in
French, being superseded by the nasal vowel
wherever it might have otherwise occurred, as
rang rahn', &c.

3. VIII.

CONSONANTS.

The tiated form ngh does uot occur, so far as I
have observed, although Mr. Melville Bell assumes
that it is introduced before a following flated con-
sonant, as in rank ranghk.

Musical Qualities of Consonants. The 80 con-
sonants which it has been found necessary to
enumerate may be classed thus :

The 9 Mutes, namely, P, t\ T, ( t, ty\ ch\ ky\ K,
kw 1 have absolutely no sound at all, and become
effective only by determining the beginning and
end of glides, and these glides may be on to flatus,
purposely introduced, as will be explained in the
next Section.

The 4 Implodents ^ d\ d, g, audible, but
unsustainable and unmusical.

The 13 Flated Centrals or Hisses WH, /' T,
TH, th', s\ S, SH, sh', YH, ky'h, kh, kw'h; the
3 Flated Laterals Fh, Ih, <lh ; the 5 Flated Trills
l pr, r"h, r'A, ( rh, <M, and the 4 Flated Nasals,
have indeed sounds, which in some cases are very
marked, but are in no cases musical, and hence
are wholly unfitted for singing. They therefore
always interrupt music by noises, which must be
heard to render the words intelligible, but must be
exceedingly short to make the disturbance en-
durable. The singer must therefore trust mainly
to the glide of which they generally form the
beginning or end

The other consonants are voiced, and in so far
can be sung.

The smothered effect of the 9 Sonants, B, d',
D, t d, dy\ /', gy\ G, gw\ and the extremely short
time that they can be sustained render them unfit
for singing, even if they cannot be considered
actual noises.

The 13 Voiced Centrals or Buzzes, W, v' V,
DH, (Fh, z' Z, ZH, zK Y, gy'h, gh, guSh, have at
best as much musical effect as the schoolboy's
instrument, a piece of paper placed over a comb
and voiced. Try to sing the opening bars of
4 God save the Queen " to V DH. Z ZH thus

and observe the wonderful effect. After hearing
this it will be felt that if these sounds are to be
produced at all in singing, they must be barely
heard, and that the main reliance must be on the
absence of hiss, and the presence of glides.

On the other hand, the 5 Voiced Lateral Con-
sonants or Murmurs, F, L, 'I, t l, ly\ except perhaps
the last, ly\ are more or less musical, but even
when they form a syllable, it is better to introduce
the vowel u' to sing on, closing with the glide on
to the lateral consonant. The ly* has a very reedy
effect. Try, however, the effect of singing
alternate bars of '* God save the Queen " on I
and ( l.

Of the 9 Voiced TriUs, or Vibrants (vei-brentsj,
*br, 'wr, r", K', 4 r, tl r, V, "r, l gh, untrilled (t r is
scarcely distinguishable from the vowel u, and can
be sung just as well ; it is of course, not a vibrant at
all, properly speaking. But with the other
vibrants (r\ ( r, ( r need alone be considered) the
interruptions of the voice produce a harsh
" tremolo " (trae'moaloaj effect, which is endur-
able for a short time, and may be sometimes used
with advantage. Of these r 1 is the best, and must
always be very strongly pronounced in Italian,
Trat may be always lightly touched in English. It
is so much superior to l r that the latter should be
carefully avoided even in German and French.
As t r is a mere provincialism it has not to be
studied, but its effect is much worse than r\
though superior to V.

Of the 6 Voiced Nasals, M, ", N, ,, ny\ NG,
one, ny* combines the disagreeable reediness of
both ng and ly\ and is quite unfit for singing ; and
although m, n, ng can be used for musical notes,
their quality of tone is disagreeable (p. 84) and

CONSONANTS.

Sec. VIII.

should not be sustained, so that when m t n

form syllables, they should, be sung as u'm, w',

with the u' sustained, and m, n short. See pp. 675,
740, 77.

Gradual Transition from Vowels to Consonants.
Hence we feel that the real distinction between

vowels and consonants consists in their musical
capabilities, and that I, r', m, n, tig, known as
liquids or " vocals," are so much superior to the
other consonants that they might form a separate
class, so that omitting the less important sounds,
we might arrange the others in order of musical
character, thus, placing the best first :

VOICE.

Vowels.... AA, AU, OA, UO, E, OE, UE, EE ; AHN', OAN', OEN', AEN' ; H' (voice).

Vocals .... L, M, N, R', NG-.

Glides .... -f

Buzzes .... Z, ZH, V, DH, W, Y ; H' (whisper).

Sonants .. B, D, G.

Slurs .... -7-

FLATUS.

Hisses .... S, SH, F, TH, WH, YH ; 'LH, E'H ; H (flatus), i (gradual^, H T (gradual jerk)
Implodents B, D, G.

ATTACK AND RELEASE
Mutes P, T, K; ? , (;) HI (pure jerk).

The speaker has to give full effect to all of these,
the singer must rely upon the vowels, vocals, and
glides for musical tones. Of the others the mutes
are most important as producing no interruptions
but merely determining the direction of a glide, or
the mode of setting on the voice, and the rest are
inflictions which the singer must not omit in any
case, but should mitigate as much as possible, and

hence reduce as nearly as may be to the condition
of mutes, relying on the glide for making them
clear and intelligible. Hence we feel the neces-
sity of studying the action of glides from and to
consonants, or the effect of consonants on
adjacent vowels, and other consonants, at con-
siderable length and with great care, as in the n^
Section.

MIXED AND CONSONANT GLIDES. SYLLABLES.

IX, MIXED AND CONSONANT GLIDES, SYLLABLES.

Vowel, Mixed, and Consonant Glides Denned
and Distinguished. The general nature of Glides
is explained at the beginning of Section VI (p. 420)
as consisting in a continually variable sound,
having a distinct beginning and end, with a con-
necting path.

Vowel Glides begin and end at vowels, which
may be themselves prolonged musically, but form
no part of the glide itself, and merely serve as
clear marks of its beginning and end, and the path,
which in this case consists wholly of voice sound,
forms the really appreciable "voice-glide." Such
vowel glides have been fully considered in Sec. VI.

Mixed Glides have a vowel at one extremity and
a consonant at the other. When the consonant is
a vocal (p. 86 \ the mixed glide bears a strong
resemblance to a vowel glide. When the con-
sonant cannot be sustained musically, but has a
sound of its own, being a buzz, sonant, hiss, or
implodent, it still serves to mark the beginning or
end of the glide distinctly. But when it is a
mute, the beginning or end of the glide is rather
uncertain, just as the beginning of motion in a
ball suspended by a thread that is set on fire.

Consonant Glides have a consonant at each ex-
tremity. If both consonants are mute, a glide is
impossible. If one is hissed and the other mute,
or if both are hissed, there is a hiss glide only, as
distinct from a voice glide. If one is voiced and
the other mute or hissed there is an approach to a
mixed glide. If both are voiced, there is an
approach to a vowel glide.

Murmur Triphthongs Reconsidered. The great
importance of mixed glides to singers will mate it
necessary to consider them at some length. First
recur to the murmur triphthongs (p. 52&) such as
in fire fmu, where the vowel glides would be more
fully represented u-\-i-$-u ; that is, there is the
vowel u, bearing the stress, gliding sharply (-J-)
on to the vowel , which does not bear the -stress,
and this gliding weakly (-f-) or slurring on to u,
which has also no stress. The real stress is not so
much on u, which is very short, as on to the earlier
part of the glide, in u-\-i. The weakness and want
of stress in the slur i-^-u prevents this from
making the whole into two syllables.

Action of a Vowel between two other Vowels.
Syllables. Now take aalaa or aa-\-i-\-aa, when
there is a sharp glide from aa to i and from t to aa t
without any proper repetition of 1. Here the
double glide, first diminuendo and then crescendo,
is so conspicuous, that the ear naturally separates
the sounds into two groups, or " syllables " (from
a Greek word meaning "collection" or group).
A speaker would therefore be apt to lengthen the
middle t, separating it into two parts by decreas-
ing the energy, which may be represented by the
sign of *--?, thus aa-\-i-^-\-aa, which makes the
two groups more conspicuous.

To feel the effect of the glides more distinctly
suppose that one or both are omitted, and represent
the result by (.. ), so that aa...\ means the vowels
aa and i with a silence in place of a glide between

MIXED AND CONSONANT GLIDES. SYLLABLES.

Sec. IX.

them, but with the greater stress on the first

vowel. Compare

aa...l...aa, aa-\-i...aa, aa... \-\-aa, aa-\-i . l-\-aa,

With these also compare

aa-^i--aa, aa-^-i-^-aa, aa~i-\-aa, aa-{-i-^-i-\-aa,

aa-\-l-\-aa

Where the -7- shews that there is no cessation of
voice, but merely a diminution of force, so that
the glide becomes a slur, and is very inconspicuous,
and the I shows that this vowel is both without
force and lengthened.

In ordinary Grlossic we should write these ten
cases thus

aa t aa, aay aa, aa yaa, aay yaa, aayaa
aayaa, aayaa, aayaa, aayyaa, aayyaa
Thus confusing glides and slurs. To the singer,
however, it is of considerable importance whether he
has suddenly to check the flow of air from his lungs
or not, and hence he is always more inclined to slur
than to break, that is, to use (-;-) than to use (...).
Thus aa...i,...aa would have to be sung with the
clear attack and release to each vowel, as
taai...ti}..4aa?, but aa-~i--aa would require the
clear attack at the beginning and end only, as
)aa-$-i--aa}, the glottis remaining in the position
for voice all the time.

Action of a Vocal between two Vowels
Syllables. In these cases we have simple vowel
glides. In the mixed glide between vowel and
vocal we can trace the same effects as
aa...l...aa, aa-\-l...aa, aa...l-\-aa, aa-\-l. . . l-\-aa,

aa-\-l-\-aa
aa-^-l-^-aa, aa-\-l--aa, aa-$-l-}-aa, aa-\-l--l-\-aa,

aa+ll+aa

In ordinary Glossic writing the necessity of
collecting into one written word the symbols of
the sounds which compose it, and of avoiding such
connecting marks as (-}-, --), have led to the con-
fusion of slurs and glides, and to represent either
of them by writing the vowels close together.
The difference of stress in the beginning and end
of glides did not need to be distinguished, because

the consonant, even when vocal, has necessarily
much less force than the vowel. Hence as before
these ten cases are written

aa I a, aal a, aa laa, aal laa, aalaa
aalaa, aalaa, aalaa, aallaa, aallaa
This is quite enough in practice when the custom
of the language is understood, but not enough for
the purposes of accurate study. In the present
examination, then, (...) will be generally repre-
sented by separation, and (-}-) by closeness of the
letters, but (-f-) will be retained except when the
consonant is doubled. Thus the ten cases will be
accurately distinguished as

aa I aa, aal aa, aa laa, aal laa, aalaa
aa-^-l-^-aa, aal--aa, aa-^-laa, aal--laa, aallaa

Now here, in the first case, we have three
distinct and separate emissions of voice, aa I aa,
without glides. It is convenient to call these
syllables or groups, although each consists of only
one sound, just as we call " one " thing a " number"
of things, although a " number of things " should
evidently consist of " more than one " thing. The
first case, aa I aa consists, then, of three syllables.
The sixth case, aa--l~aa, also gives the effect of
three syllables not well detached, because there is
only relative not absolute silence between them.
The other eight cases consist of two syllables each.

For aal aa and aal-^-aa it is evident that the first
syllable ends with I, which is felt to be slightly
prolonged in the second form, and the second
syllable begins with aa, with a clear attack in one,
but in the other, with no attack at all, because the
glottis has never ceased to act and to produce voice.
The two syllables in the firct case are separated by
a silence, in the second by a " muffled" voice.

For aa laa and aa-^-laa, the first syllable ends
with aa, having a clear release aa} in the first case,
but merely a reduction of force in the second case.
The second syllable begins with I with a clear
attack tf in the first case, but merely with renewal
of force in the second. The two syllables are
separated by a silence in the first case, and by a
muffled voice in the second.

Sec. JX.

MIXED AND CONSONANT GLIDES. SYLLABLES.

For aal laa and aal-^-laa there axe also distinctly
two groups, and the separation is evidently made
in the first case by a silence, and in the second hy
a remission of energy in pronunciation of l~l,
so that -j- serves again to divide the syllables.

For aalaa the I is short, and for aallaa it is long,
but there is no reduction of energy during its
continuance. The whole length of the I itself
forms, therefore, the sensible separation between
the first and second glide. And if we group the
beginning of I with the preceding aa, we must
group the end of I with the following aa. We
come then to the conclusion that the syllables
divide " in the middle " of I or II.

Action of a Buzz or Sonant between Two
Vowels. Similar considerations apply to the cases
where the consonant which separates the syllables
is a buzz or a sonant. Thus we can and should
distinguish

aa z aa, aaz aa, aa zaa, aaz zaa,
aa-^-z-aa, aaz-^-aa, aa-^-zaa, aaz-^-zaa, aazzaa

aa b aa, aab aa, aa baa, aab baa, aabaa
aa-b-^-aa, aab-$-aa, aa-^-baa, aab-^-baa, aabbaa

Action of a Hiss between Two Vowels. When
the dividing consonant is a hiss, as in aasaa, there
is a slight distinction. The glide from the vowel
to the hiss, aas, begins necessarily with the voice.
Should that voice be carried on up to the hiss, that
is, while the tongue moves from the aa to the s
position, and should the glottis be then suddenly
opened, so that flatus only can be heard? This
action may be represented by aas. Or should the
voice die off into a whisper, and pass into flatus
during the glide ? This second action may be
represented by aa?s. Or does the voice continue
into the s position, producing z, and during that,
position change through whisper rapidly to * ?
This third action may be written aazi or aazs.
And similarly in passing from the s to aa, where
does the voice begin ? In the s, thus szaa ? im-
mediately after the s, thus saa ? with a gradual

transition after the s, thus sjaa ? The habits of
different nations and individuals here differ con-
siderably. So far as I have observed, it is common
in English to say aajs and aas, and it is common
in Italy to say aazs and aas, but the first often
falls into simple aaz. In German aaz and aas, and
in French aaz and ahs are both usual. The
English singer is recommended to say das, aas,
making the change smartly and suddenly in
passing from the vowel to the hiss, because the
slightest suspicion of z is unpleasant to our ears,
having a Zum-erzetzher effect. But the *, of course,
must never be lengthened in singing ; we must use
s~s or *...*, with two short s, in place of ss. The
ten spoken forms are then

aa s aa, aas aa, aa saa, aas saa, aasaa
aaj-^-s-^-iaa, aas-^aa, aa^-^-saa, aas-^-saa, aassaa
The slurs require the gradual attack and release,
because the glottis is never closed ; but the effect
is not pleasant. It is important, however, for the
right understanding of glides to note the great
distinction between aas arid aa s, or even aaj-~s,
that the singer may accustom himself, even when
the vowel is much prolonged, to bring out the
glide smartly and clearly.

Action of a Mute between Two Vowels Kecoil

When the separating consonant is a mute, the
case again changes aspect. The glide is once more
a complete voice glide, but there is no resting-place
at the mute. The voice is simply cut off at the
end of the glide, and this is effected not merely by
the closing of the external apertures, but by the
closing of the glottis itself. Hence the three
separate syllables and slurs become impossible.

If we say aa p aa, the effect is the same as aa aa,
except that perhaps there is rather a longer pause
between the two vowels. To make any audible
effect possible we must either " implode " the p or
introduce flatus or voice either before or after the
p, as aa b aa, aa hp aa, aa h'p aa, aa ph aa,
aa p-h'aa. Of these the after-flatiis ph, pro-
nounced very rapidly, is most common in England,
and is sometimes known as the " recoil." In this

MIXED ANi> CONSONANT GLIDES. SYLLABLES.

Sec. IX.

case an ph aa can indeed be made quite audible
as three distinct syllables, but then ph really
contains a flatus-glide from the p position to some
easy indefinite position, say that of flated u or .
That this is really the case may be felt by saying
rapidly, ph, th, kh ; th, kh, p Q h; kh, ph,
th, when it will be found that each of the three
sound is easily distinguishable, although, if there
were no flatus-glide, there would be nothing heard
but a succession of the same flatus sound h. If
the sensitive back of the hand be held before the
mouth while saying ph, t Q h, kh, the force of wind
will be found to be very great for the two first,
and the character and direction of the blast to
differ considerably in each of the three cases.

But even this contrivance fails for the slur. It
is, of course, impossible to keep a stream of air
passing through the mouth when the passage
through the mouth is shut, and if we merely
diminished force in passing from aa to p, we
should simply render any effect of the p inaudible.
Hence the five forms aa p aa, aa-^-p-^-aa, aap-^-aa,
aa-^-paa, aap-^-paa must be excluded, and there
remain only the five important forms

aap aa, aa paa, aap paa, aapaa, aappaa

For aap aa, the voice glides precisely as for
aab aa, but ceases, by an action of the glottis, as
the p position is secured, and the voice does not go
on resounding in the closed mouth, as for b. The
effect of the glide in aap without anything to mark
its termination, is very incomplete and mutilated.
But when a vowel or other consonant follows, it is
the only one admissible. Some persons will say
aaph, but the singer should never allow himself
to indulge in anything so unmusical. For aa paa
the glide on to p is lost, but that from p remains.
This is just as mutilated as aap, but it has not the
same effect, because the voice dwells as long as it
pleases on the final aa. But many persons find it
not distinctive enough, and introduce an aspira-
tion, SLap-hfaa or p-fyaa, both of which are highly
objectionable ; the former is a German, the latter
an Irish error. For aap paa both glides occur, and

there is a perceptible silence between them which
divides the syllables. But in aapaa this silence
disappears. The second glide begins where the
first ends, with no more interval than is necessary
for reversing the action of the muscles, so as to
open instead of closing the lips. But for aappaa
that separation is slightly increased by making the
contact tighter, giving an " energetic " character
to the consonant. The remarks on p apply with
proper changes to t and k.

Vowels Running on to Consonants, and Con-
versely, Open and Closed Vowels, Final and
Initial Glides, Medial, Doable, and Split Con-
sonants. When a mixed glide takes place from a
vowel to a consonant in any of the ways just stated
the vowel is said to " run on " to the consonant or
to be " closed" by it, and to occur in a " closed "
syllable ; but when'it is separated by a silence, or
only united by a slur, it is said to be an " open "
vowel, or to occur in an "open syllable." The
consonant is said to act " finally " on the vowel, and
to "close" it. The glide is "the final effect" of
the consonant on the vowel.

When the mixed glide takes place from a con-
sonant to a vowel, the consonant is said to "run
on" to the vowel to ''attack" it, to act on it
" initially."

When a consonant forms a mixed glide with both
a preceding and following vowel, the length of
separation of the glides may be long, or short, or
absolutely nothing at all. When as short as
possible, as in aapaa, aasaa, the consonant is said
to be "medial," or to produce its medial effect.
When just perceptibly lengthened and strengthened
as in aappaa, aassaa, it is said to be "double" or
" energetic." When there is an actual perceptible
pause or slur between the two glides, as in aap paa,
aas+saa, the consonant is said to be " split " or
" dislocated." The last case occurs properly only
in spelling syllables, or when a singer is obliged
(by the fault of the composer) to take breath
between syllables. The "double" effect is very
common in Italian, as hanno (thev have) aannoa,

Sec. IX.

MIXED A3TD CONSONANT GLIDES. SYLLABLES.

not aan-^-noa, and even in English, compare
bouquet bookcase buok-ai buok-kais, missive missent
mis'iv missen't, unowned unknown unoa'nd unnoa'n,
penny penknife pen'i pen'neif (not pen'if, as some
say. It also occasionally occurs in German and
French. The "medial" effect is the most com-
mon in English and German when it closes an
accented and begins an unaccented syllable, as
messen (measure) maes-en, konnen (to be able),
koen-en, manner (men) maen~ur', happy hap-i, &c.,
where in ordinary orthography two consonants are
written as if there were a double effect. This
double effect may, however, always be used by the
singer, and frequently with advantage, as it tends
to bring out the effect of the consonant better.
In Italian and French the medial effect is not
acknowledged theoretically. It seems to me that
Italians end the syllable when possible by a slur,
as sano (healthy) saa'-^-noa, not saa'noa, ridere (to
laugh) ree'-^-dai-Z-r'ai, not ree'dair'ai ; the rule
being that when the consonant or consonants after
the vowel can be pronounced, (that is, have their
effect made audible, by Italians,) without the
assistance of the preceding vowel, they should be
so pronounced. But in French it seems to be that
the consonant is always medial if possible (that is
if it can be made to act upon both vowels) as
malheureux (unhappy) maaloer'eo, not maa-~loe~-
r'eo. In English an unaccented vowel is always
"open" when preceding such a consonant as can
produce its effect by help of the following vowel,
as merrily mer'i-^-li, happiness hap-i-^-nes, repay
ri-^-pai', presume pri~-zeu'm, laboratory lab'-
u-^-ru-^-tur'i, navigable navi-^-gu~bl. emotional

Tight and Loose Mixed Glides. The glide is
tight," "close," or "smart," when there is a
j considerable distance between the positions of
the vowel and consonant, and this distance is
) travelled in a short time. Hence to produce the
i effect of a consonant clearly, the glide should be
i made rapidly and smartly. In English when the
I vowel is long it is usual to make the glide " lax " or

" loose." The voice seems to loose energy, and it
glides weakly, and hence not very clearly on to the
consonant. This is peculiarly a vice of singers, who
have to lengthen even short vowels, and to whom
the noise of a consonant is a nuisance. They
consequently altogether lose the effect of con-
sonants even in syllables which in speech have
short vowels, and therefore, as the voice is in full
energy on commencing the glide, have smart
glides. But the omission of a final consonant,
coupled with the inevitable lengthening of a short
vowel, is quite enough to make a word unintellig-
ible. Hence the singer has to practise his glides
very carefully till he can make them perfectly
smart, with long vowels gliding on to mutes, as in
aa-p, aa't, aa-k, without any flatus after the
consonant. He should sing them in any order to
a person at a considerable distance, and not be
satisfied unless that person hears every consonant
distinctly, which he can easily signal by holding
up the right hand for p, left hand for t, and both
for k, without interrupting the singer. This is
not an easy exercise, but it is one of the most
important for a singer who would acquire a clear
enunciation. The tightness and consequent
audibility of the glide is produced by rather
increasing the force of the vowel just as it begins
to glide and keeping up the force till the vowel is
lost in the consonant, that is during the whole
glide, which must be made very short and sudden.
In the first exercises, of course, the effects must
be exaggerated, and then, when the action is
familiar, they will have to be toned down to the
requisite delicacy.

Initial Mixed Glides from Voiced Consonants
and Hisses. Initial mixed glides proper are those
which occur from a consonant to a vowel, after a
" pause," that is, after a very sensible silence,
generally enough to draw breath once or twice, or
at the beginning of a sentence or speech. In this
case the vocals, buzzes, and hisses, should be taken
very short, and the vocals, buzzes, and sonants
should begin with the clear attack, }. There is no

MIXED AND CONSONANT GLIDES. SYLLABLES.

Sec. IX.

danger in any of the four languages that vocals
should be preceded by their flated forms, that is,
that we should say Ihlaa for laa, with a gradual
attack, because they do not possess this flated
sound Ih, and consequently it is difficult for their
speakers to utter it. But the buzzes are so rough
and disagreeable, that there is a tendency to make
them begin with the flated forms, that is, with the
gradual attack, and in the same way there is a
tendency in case of the hisses to introduce the
buzz after the hiss. Thus in English there is a
tendency to say whwen for when simply, and even
to say wen for when. In the West of England
fvaa, thdhaa, szaa, and even shzhaa occur, which
under different degrees of energy give more or
less prominence to the flated or voiced form, so
that sometimes faa, thaa, saa, shaa seem to strike
the ear, and at others vaa, dhaa, zaa, zhaa. The
singer should always avoid this ambiguity. He
should take one or the other form clearly. This is
managed for the hisses by keeping the glottis open
for the whole (very brief) duration of the hiss, and
closing it suddenly to the clear attack at the
beginning of the glide. The effect is then a hiss,
followed by a glide which resembles that from a
mute in having no previous duration of voice
sound through a fixed position. The singer should
practise * aa, saa y that is, s.,.)aa and si-^*aa, an( ^
note the difference of effect, and also the difference
from si~\-aa (that is, s-\- 'aa-j-00) , where the change
from flatus to voice takes place during the glide.
For buzzes the effect is produced by beginning
with the clear attack, as )vaa, that is, putting the
organs in the proper position for voice at once, and
thus avoiding the gradual attack, as yoaa,, giving
fvaa. In German all the words beginning with
* s,' as ' sie ' (she) are pronounced with sz, as szee,
even by singers ; indeed it was by observing
singers that I first became acquainted with the
fact more than thirty years ago. Singers, however,
are recommended not to indulge in the habit, but
to commence with the clear attack, and make the
buzz very short. As the Germans have no 0, or
zh, and use/' only after p when they use it at all,

this sz is the only combination of the kind which
occurs in that language. In Italian and French,
so far as I have observed, there is no tendency to
begin an initial buzz with its flated form.

When the initial consonant is a sonant, b, d, g t
there is no real difficulty to an Englishman,
Italian, or Frenchman, but most of the Germans
have a considerable difficulty, because they are
used to "implode," and say b, Q d, g, which is on
the other hand difficult to Englishmen. The Ger-
mans therefore try to prolong the voice sound of
b, d, g, which is so difficult that they are apt to
open the nasal passage, and say mbaa, ndaa, nggaa.
This is a common habit among several nations,
and is here only mentioned as a fault, into which
singers might be easily tempted, but which they
must carefully avoid.

Initial Mixed Glides from Mutes. When the
initial consonant is a mute, p, t, k, the difficulty of
having a perfectly silent commencement of the
glide leads very frequently both Englishmen and
Germans (not, I think, Italians or French) to
begin with the gradual attack. The consequence
is that there is an explosive escape of flatus as the
check to the voice is released, occupying the
position of the glide, and then the vowel follows,
beginning perhaps in part of the glide, and perhaps
at its full position, thus p-\-h?aa or phaa, t Q haa,
k Q haa, which may be written more conveniently
pfaa, fyaa, tyaa, because the vowel is really begur
gradually, and the explosion is simply occasioned
by the release of a tight position. This is some-
times exaggerated by suddenly jerking the lungi
so as to force the flatus of the clear attack stil
more strongly, as p-h^aa^ t-h^aa,, k-hfaa. This ii
by no means unfrequent with public speakers ir
England (I have even heard a minister, who usec
this method consciously and designedly, declar<
that it was the only method of making thes<
consonants properly heard), and it is genera
among those Germans who distinguish mutes fron
sonants, that is, who do not " implode." That ii
was common in older German we see from th<

Sec. IX.

MIXED AND CONSONANT GLIDES. SYLLABLES.

iormspfaa-l, t's'oo, the actual pronunciations of
'pfahl' (pole), * zu' (to), which arose from paa- 1,
t'oo. Still these sounds are not required for in-
telligibility, and should be most studiously avoided
by the singer, because they introduce an unneces-
sary and unsingable flatus. They also destroy the
real singable voice glide altogether. The singer
must carefully practice singing aa aa aa, pact, paa
paa, taa taa taa, kaa kaa kaa, aa paa, aa taa,
aa kaa, paa aa taa, paa taa aa, and so on, with
different vowels, and feel the great difference
occasioned by the glide, when kept strictly voiced,
without a trace of flatus. This will add greatly
to the beauty of his English and German singing,
and it is quite indispensable for Italian and
French. See Section XI, Exs. 2 to 8.

Final Mixed Glides on the Voiced Consonants
and Hisses. Final mixed glides proper from a
vowel to a consonant, before a "pause," present
similar difficulties. When the consonant is vocal,
there is a tendency to prolong it unduly, especially
if the preceding vowel is short. Thia is all very
well in speaking, but as the vowels may always be
lengthened in singing, and the vocal, though
singable, is far less musical than the vowel, it
must not be thought of in singing. The singer
must endeavour to tighten his glide on to the
vocal, and make that vocal very brief indeed, so
that it comes to a sudden stop, as if broken off.
Some length of time is necessary, of course, for the
audible utterance of the vocal, and this will suffice
to distinguish it from other consonants in the same
column of the Table, on p. 17, that is, which are
produced by nearly the same position of the organs.
Thus aal is kept distinct from aad, aar', aan, with
all of which it is liable to be confounded, owing
to the great resemblance in the three glides.
Similarly aam must be kept clear of aab, and aang
of ang. As respects the nasals another point must
be attended to ; no particle of the glide from the
vowel to the consonant must pass through the nose.
Hence the glides in aa-\-m, aa-\-n, aa-\-ng, are
identical with those in aa-^-b, aa-\-d, na-\-g, and

the only differences in the syllables consist in the
instantaneous opening of the nasal cavity on the
cessation of the glide in the first three cases, and
the muffled resonance of the vowel in the mouth
only in the last three cases. It is of extreme
importance for a pleasing pronunciation of English
not to allow the least nasality in any vowel sound
or vowel glide. And these syllables form great
difficulties to foreigners. There is no tendency in
any of our four languages to drop the voice and go
off to flatus, when the vocal ends, as aal-lh,
aar'-r'h, although Germans often say aa'r-'rh,
(p. 840) which is not to be imitated.

When the final consonant is a buzz, there is a
constant tendency in English to drop the voice and
pass into the hiss, most with z, as aazs, but not
unfrequently with dh, as aadhth, and more rarely
with v, as aavf, as in: That's his ! I can't breathe!
Have you five ? dhats -hizs ! ei kacrnt "breedhth !
hav eufeivf? The singer should avoid the flated
form aa unsingable. The final zs is particularly
disagreeable in singing. In German there is no
final buzz in a glide, but only pure hisses. In
Italian no word ends with a buzz. In French the
final buzz does not pass off into a hiss, as la rose
(the rose) laar'oaz ; observe here that the r' is
medial. As regards the glide up to the buzz, it
should be treated in the same way as for a vocal,
but the buzz afterwards should be very brief.

The final sonant, as in aab, aad, aag, has glides
of precisely the same nature. The singer should
continue the muffled resonance of the b, d, g, just
time enough to be perceived, and especially avoid
two methods often adopted to make these sonants
more conspicuous. Many speakers, even so great
an actor as the late Mr. Macready (Mu'kree'dij,
and very many lower class tragedians, allow the
final sonant to become medial, by adding a very
brief and indefinite vocal sound, so that the sonant,
which is brief and never ceases to be heard, is
followed by a glide to some indefinite form, nearly
u, which is represented by K , thus aab-h', aad'h',
aag'h\ Thus ' stab, add, nag,' become stab f h\
ad'h', nag-h', that is nearly stab'u, ad'u, nag'u,

MIXED AND CONSONANT GLIDES. SYLLABLES.

Sec. IX.

sounding like ' stabber, adder, knagger.' Other
speakers, wishing to bring out the sonant more
strongly, drop the voice, and end with flatus, thus
aab-ph, aad'th, aag'kh, which is very apt to
produce the effect of aap, oat, aak, and should
therefore be also avoided. The proper method,
especially for the singer, is to prolong the vowel as
much as is required for the music, make the glide
tight, just prolong the sonant enough to be felt,
and end with a clear release. In German no word
ends in b, d, g before a pause, but if a vowel or
voiced consonant follow, I seem to hear the proper
sound of b, d, g or yh, gy'li, at any rate such sounds
are quite admissible. In other places final ' b, d,
g' become pure^, t, k or M, ky'h, however they
may be written. In Italian the elision of a vowel
will sometimes, but rarely, produce a b, d, g at the
end of a word, and similarly in French, and in
both cases they are pronounced clearly.

When the final consonant is a hiss, the only
point to be remembered is to voice all the glide,
and to open the glottis suddenly at the moment
the hiss position is assumed, and not to prolong
the hiss in singing. The greatest care has to be
taken with s, which has such a cutting hiss. In
German especial care is requisite with the final
kh, ky'h. English singers of German are apt to
omit them altogether, which of course is atrocious,
and renders the words perfectly unintelligible and
difficult to follow even with the text. But there
should be a tight glide up to them, and then they
should be sustained just long enough to be dis-
tinctly separated. They are certainly bad inter-
ruptions for the singer, but they are characteristic
of the language, and must be well heard. Practise
singing such phrases as : Ach ! nicht ich doch (Ah !
not I, though) aakh ! neeky'ht eeky'h daokh, to
very long notes, and hence as aa~kh, me-ky'ht,
ee ky'h, dao'kh, making the glide tight (exag-
gerated), and the hiss light.

Final Mixed Glides on to Mutes, Kecoil with
Flatus, Click, or Voice. The mute final necessarily
presents the greatest difficulty. In this case the

glide ought to end in a silence, but, as already
noticed (p. 90#) it often ends in the "recoil."
Singers should be satisfied to end with the glide,
as aap. But if the check is released, the mute
should not glide on the flatus, but make a very
faint smack or click by the sudden separation of
the two lips for p, point of the tongue and palate
for t, and back of the tongue and soft palate for k,
all of which parts are moist. ^Representing this
click by () at the end of a word, as a contraction
of A, practise first holding the breath so as to be
sure that no flatus escapes, and then saying p, t,
k, as loudly as possible, and then gradually
reduce them to the lightest sound which is just
audible. This is the utmost amount of recoil that
a singer should allow himself, thus aap, aat Q ,
aak '. It is sufficient to relieve the organs, and
then the singer can breathe freely and noiselessly.
And even the speaker had better limit himself to
this faint click. It may be mentioned incidentally
that these form the bases of the celebrated South
African and North American clicks. In German
the same practice may be adopted. In Italian
there is scarcely any occasion to use it. In French
p, t, k, could only occur finally by the elision of a
' mute e,' and French speakers in practice prefer
the faintest possible indication of this eo, which
may be written eo to distinguish it from merely
short eo ; and they then usually double the preced-
ing mute, that is, they glide tightly up to it from
the vowel, and loosely from it on to eo, making
a barely perceptible pause between the two
glides. This is especially done in poetry with all
final consonants which arise from the elision of
a ' mute e,' in order to supply its place, and
made the existence of the elided syllable apparent.
Thus chape (a cope) shaappeo, chatte (a cat)
shatteo, moque (laughs at) maokkee.

Consonant Glide from Vocal to Vocal. Passing
from mixed glides we have to consider purely
consonant glides, where each element is a con-
sonant. The consonant glide of vocal to vocal is
rare, and in English is only found after a vowel.

Sec IX

MIXED AND CONSONANT GLIDES. SYLLABLES.

as in f alien fau-ln, elm. In fau-ln and such words,
the tongue having come into the I position, the
point is not removed from the palate, but the sides
close to the teeth to complete the check, and the
uvula descends to open the nasal passage. There
is thus no room for any vowel to interpose, but
there is a rapid glide from I to n. If, however, the
point of the tongue were allowed to quit the
palate for an instant, a voice sound, which we may
write u\ would be heard for that instant, the I
would glide on to it, and it would glide on to the
, and two syllables would arise, thus fau-lu'n.
In elm, the point of the tongue should be similarly
maintained on the roof of the mouth, while the
lips close in for the m, as and they close, the uvula
should descend to open up the nasal passage.
Many speakers find this glide so difficult, that they
let the point of the tongue drop too soon, and
hence introduce a vowel, as el-u'm. The vowel
should always be avoided in this case. The
termination In is very common in German after e
or u, as nudeln (vermicelli) noo-du'ln, spiegeln (to
mirror) shpee'gy'hu'ln ; and Im occurs in halm
(stalk) haal-m, helm (helmet) hael-m. Neither
occur in Italian or French. The final glides r'l,
r'm, r'n, are quite optional in English, in ' snarl,
arm, barm, tarn,' generally called snaa-l, aa-m,
baa-m, taa'n, but allowably aa'r'm, baa-r'm, taa'r'n.
But these glides are frequent in German, kerl
(fellow) kaer'l, arm aar'-m, herrn (accusative of
' herr,' sir) haer'n, and French perle (bead) paer'-l,
charme (charm) shaarm, lucarne (attic window)
luekaar'n, but not in Italian. For this glide the
r' acts just as a tremulous vowel, and the tremor
is continued through the glide. Such initials as
tnlaa, nlaa, mr'aa, nr'aa, and even mnaa, r'laa, are
quite possible, but do not occur in our four
languages.

Consonant Glide from Vocal to Buzz. The final
consonantal glide of vocal to buzz is rendered
common in English by the mode of forming our
plurals, as bells belz, crumbs krumz, hens henz,
things thingz, and with permissive r\ foars feeur'z.

These present no difficulty. The only care re-
quired is not to finish off the z with an s, by
dropping the voice, as henzs, &c.

Consonant Glide from Buzz to Buzz. The con-
sonantal glide between two buzzes is not so
common, but it occurs final in English, as halves
haa-vz, wolves wuolvz, breathes bree'dhz. These
present two difficulties, to retain the voice through
all the first buzz and also through the second.
The latter is rarely done in the pause, in that case
the buzz readily falls into the hiss, as haa-vzs,
wuolvzs, bree'dhzs, which, however, the singer
should avoid. None of these glides occur in the
other three languages. One of these words con-
tains an example of a vocal and a buzz, as in
shelve shelv, twelve twelv, delves delvz, selves
selvz. In French we have also Beige (Belgian)
baelzh, charge shaar'zh. The permissive trill
would give us starve staa-r'v, as in French larve
(insect larva laar'v, but the combination is not
common.

Consonant Glides from Sonants to Vocals at the
end of Words. In cable kai'bl, addle ad- 1, giggle
ffiff'l, deaden ded'n, the vocals I, n make distinct
syllables. Here the distinction between the glide
on to the pure vocal and the interposition of a
vowel must be perceived. In kai'bl, the tongue is
brought into the position for I before the lips are
separated from the b, so that no vowel can be
inserted, but in verbal vu-bu'l, cymbal sim-bu'l, the
tongue is not in contact when the lips are opened.
For ad-l, idle ei'dl riddle rid'l, bidden bid-n, the
point of the tongue is already in the position for I
and care has to be taken not to remove it, but
merely to slacken the contact of the sides of the
tongue with the teeth to let out the I sound, or else
to retain the side contacts firm, and open the nasal
passage for the n sound. If the point of the
tongue is removed in either a vowel sound is inter-
posed, as in medal med'u'l, idol ei-du'l, bridal
brei'du'l, abandon uban'du'n. Now the difference
of the two pairs of sounds bl, dl and bu'l, du'l is

MIXED AND CONSONANT GLIDKS. SYLLABLES.

Sec. IX.

so slight that they are often confused, and as the
latter are much more singable, the singer has been
already recommended to use them in place of the
former (p. 745). The case of gig 'I is rather differ-
ent; but here the glide is only stronger. The
tongue has a great leap to make from the position
for g (diag. 17) to that for I (diag. 20), and while
it is changing, the voice being omitted, there is a
very evident glide. But this glide being altogether
obscure in sound does not differ so much as in the
last cases from the effect of an interposed u' ; com-
pare wriggle, regal r'ig'l, ree'giil, and hence the
use of the latter for the former is even more
admissible in singing. Only it is necessary to
make the glide from the u' to the I, n, loose, not
tight, so that there should be no resemblance to an
accented ul, un, as jid-ul m for fid'l fiddle, which has
always a disagreeable effect. The final br', dr\ gr" 1
become bu', du\ gu* in English, and bur\ dur', gur'
in German, but may be heard in colloquial French,
as sabre ^sabre) saabr' or saabr'eo, ordre (order)
aor'dr' or aor'dr'eo, ogre aogr* or aogr'eo, and even
the flatus is sometimes substituted, as saabr' h,
aordrk, aogr'h. The final bl, dl, gl are sometimes
treated in the same way in French, as sable (sand)
saablh, but properly saableS, never saabl. In
German the final I gliding from preceding sonant
is written 'el' in general, and may be always
called el (not ael), or u'l, but it often becomes a
pure I, and is even occasionally so written, as fiedel
(fiddle) fee-del, fee-du' I, or fee-dl, grxibeln (to grub)
grue-beln, grue-bu'ln, or grue-bln, in which last case
the glides are ue-\-b-\-l--n. None of these finals
occur in Italian.

Consonant Glides from Sonant to Vocals, and to
the Buzzes W, Y at the beginning of Words.
The initial bl-, gl- require care to keep the I very
short, and yet make it sufficiently heard for the
previous consonant to glide on to it sensibly. Such
sounds as bl-loo, gl-loo, or bu'loo', gu'loo' are quite
inadmissible, although occasionally heard. As gl-
presents difficulties in the very rapid motion of the
tongue (diagrams 17 to 20 , most children (and a

large number of dialect speakers) convert it into
dl-, which is very easy, because to pass from d to I
we have only to loosen the sides of the tongue, and
as dl- does not occur in our language, it occasions
no mistakes. But it is nevertheless an error in
speech which should be avoided. This error is not
known in German and French, or in the very few
and recent Italian words in which it occurs. In
the greater number of Italian words gl- is replaced
by gee or gy, as in ghianda (a gland, or acorn)
geeaawdaa or gyaan'daa.

The initials br'-, dr'-, gr' present no difficulties,
but in bw- t dw-, gw- a peculiar effect results. In
saying true bw- there is but a very slight gliding
sound. The lips are quite close for b, the vocal
resonance being entirely within the mouth, though
if the finger be placed lightly on the lip it will be
found to tremble. For w the lip is opened, and
the voice escapes as a buzz. The extremely slight
motion creates an extremely slight glide, which is,
however, perceptible, and hence bwaa is not easy.
Care must be taken to avoid bu'waa. This diffi-
culty is practically overcome in two ways. One is
to convert w into So, producing booaa, and perhaps
this is a common pronunciation of the French
bois (wood). But perhaps the commonest, as it is
the neatest pronunciation, is to close the lips for b,
not in the usual way, but as if the lips when
rounded for w were drawn up in the middle, just
like a bag closed by a running string. Then open-
ing out upon the vowel we have a combined effect
of b and w pronounced together, thus bw'aa, where
buf represents this peculiar conformation of the
lips by which an attempt is made to pronounce
both b and w at once. This effect is easier to
produce for dw'aa doit (owes), gw'aatr' goitre
(glandular swelling of the neck), because the lips
being perfectly independent of the tongue, they
can be brought into position at the same time with
the tongue position for d, g. This is altogether a
better way of producing the effect. In English
dwell, dwindle, &c., I think that dw'el, dw'in-dl is
both easier and commoner than dwel, dwin-dl, and
I recommend its use especially to singers. Simi-

Sec. IX.

MIXED AND CONSONANT GLIDES. SYLLABLES.

larly for gwawnoa; as for buoy bitfoi, the word
appears to be a mistake. Sailors say boot or booy,
which agrees with the original Dutch pronuncia-
tion.

Consonant Glide of Vocal to Sonant at the End
of Words. The final combination of vocals with
sonants offers no difficulty to an Englishman ;
thus bulb bulb, barb baar'b, bald bauld, hemmed
hemd, end end, hanged hangd, jeered jeeur'd. Such
combinations do not occur in German, or Italian,
nor, so far as I remember, in French. In fact,
such forms as end, and, offer great difficulties to a
Frenchman, in an endeavour to avoid nasalisation,
as he would naturally say aen'd, ahrid, as in ' Inde,
bande.'

Consonant Glides between Buzzes and Sonants,
and between Sonants and Sonants. Initial com-
binations of buzzes and sonants do not occur in
English or German. In Italian, however, z-, zd-,
zff-, occur, as in sbaglio (a mistake) zbaa-ty'oa,
sdrajarsi to stretch oneself at length) zdraayaa'r 1 -
see, sghigno (sneer) zgee'ny'oa. The much more
difficult form dz-, or rather d'z'-, or perhaps z only }
also occurs in Italian, as in zelo (zeal) dzae'loa,
d'z'ae-loa, or z'ae'loa. It is easy enough to say dz
or d'z ', the difficulty consists in making the glide
short enough to produce the effect of a single
consonant on to the following vowel. In French
also not only zb-, zd-, zg-,zr'-, zv-, occur in adopted
foreign words, but the more difficult combination
gz- is used in a few words taken from the Greek,
as : Xenophon gzainoafoan? , xerasie (a disease of
the hair) gzairaazee, xiphoi'de (sword-shaped)
gzeefoa-eed, a word often used as a test of French
pronunciation. The difficulty does not consist in
the glide gz in itself, but in making it sufficiently
short, and not dwelling on the z, but gliding at
once on to the next vowel.

In English and Italian the Glossicy is really one
of this class, being absolutely dy'zh", which very
complicated form is pronounced by Englishmen
and Italians with the greatest ease, while French-
men imitate it badly, and Germans flate it into

t'sh or fsh'. When final, it follows an I easily, as
that glides on readily to its dij as in bulge bulj.
There should be no more difficulty in chai'nj
(change) than in chai'nd (chained', but many
speakers do not glide on to the dy' at all, and pro-
nounce ty 'sh 'ai-nzti ', or chai-nzh, as they hear it.
Various reasons lead me to prefer chai'nj, which
seems most natural to English mouths. In
' changes ' it is not so usual to omit the dy' initial
element, because there is then naturally only a slur
and not a glide between the n and the /, thus
chain-^-Jez. When the permissive trill is used, we
have also -r'/ in barge baa-r'j never baa-r'zh.

The final glide of buzz on to sonant is quite
common in English, owing to the mode of forming
our past participles, as amazed umai'zd, halved
haa-vd, breathed bree'dM, judged jujd, bulged
buljd. There is a tendency in the two last words
to remit the voice, and end with t, as jujsKt,
buljsh't, which singers should avoid. No glide of
this kind occurs in the other three languages.

Some cases occur of two sonants at the end of a
word, as grubbed, bagged grubd, bagd. The very
imperfect resonance of the voice for the sonants
renders these glides extremely difficult to perform
audibly, so that there is danger of changing the
words into grupt , bakt, which is quite inadmis-
sible ; or into grubdt , bagdt , which is more
allowed ; or into grub'u'd, bag-u'd, which has an
archaic (aakai'ikj sound, even if the u 1 take the
form of the lightest voice K ; or even into grub,
bag, with total omission of d. Many, therefore,
say grub'd-K, bag'd-h' , and the singer will find
this easiest in the pause. The speaker must, how-
ever, learn to make the glide easily and audibly,
for to say bag-d-K dhem for bag'd dhem would have
a foreign effect. These combinations do not occur
in the other three languages.

The final glide of sonant to buzz is also common
in English, owing to the mode of forming our
plurals, as cabs kabz, beds bedz, bags bagz. Here
again the singer must guard against -zs, must
make both the sonant and buzz short, and rely for
musical length on the vowel.

MIXED AND CONSOJfANT GUJDES. SYLLABLES.

Sec. IX.

Rule for Consonant Glides when one Consonant
is Voiced and the other Voiceless. In the pre-
ceding cases of initial and final consonantal glides
after and before a pause, both consonants were
voiced, and hence no difficulty occurred in the
compulsory passage from voice to flatus, or flatus
to voice. The effect would be similar if both con-
sonants were flated, or one flated and the other
mute. But we have already seen the difficulties
which occur when a hiss or mute precedes or
follows a vowel, in determining where the voice
should be taken off or put on (p. 92#). The
upshot of our considerations was, "That in an
initial glide voice had to be put on at the moment
that the mute or hiss position was released, and
that in a final glide voice had to be shut off at the
moment the mute or hiss position was assumed"
The same rule should apply to the voice in con-
sonants as well as in vowels, in connection with the
glides to and from mute and hiss positions.

Initial Consonant Glides from Mute to Vocal, or
to the Buzzes W, Y. Ia.pl-, pr'-, pw-, tr'-, tw-,
kl~, kr'-, kiv- initial the previous observations on
the sonants in these positions will therefore apply
with the above restriction. Observe especially
that the glides are the same as when the initials
are sonants, as in bl-, br-, bw-, lr'-, dw-, gl-, gr'-,
0w-,'and that it is only the absence of any length
of voice at first which makes the difference. As
in the case dl- for gl-, the tendency to say tl-
rather than kl- has to be avoided ; and, as in dw -
for dw-, the tendency to use pw'-, tw'-, kw'- in
place of pw~, tw-, kw- t has to be cultivated. In
final -pi, -kl, there is the same syllable formed
as for -bl, -gl, thus : apple ap-l, cackle kak'l, and
the singer has to cultivate the use of ap-u'l,
kak-u'l, in the same manner as before.

Final Consonant Glides of Vocal on to Mute and
Hiss. It is only when a vocal glides on to a mute
that a difficulty has been raised. In -lp, -It, -Ik,
our rule makes the voice glide all the way from
the I to the p, or t, or k. but Mr. Melville Bell

thinks that this makes the voice too long and
heavy, and writes -Ihp, -Iht, -Ihk, that is, he does
not permit the voice to pass through the I at all.
This is opposed to my own observation of what
actually occurs, and at any rate the rule just given
is best in practice. But in the case of -It, the
recoil is necessary to audibility, as felt- or felth.
I have, however, heard the mistake of saying
feldt for felt (felt), which then became difficult
to distinguish from feld (felled). But this is
guarded against by the rule just given. Similarly
we must say shelf and not shelvf, which would
sound like ' shelve.' With the nasals some little
additional difficulty occurs. In lamp, the nasal m
continues as long as the nose is open. When it is
shut, no sound whatever is heard, for there is then
no exit for the breath ; the flatus which enters the
mouth is not sufficient to cause even an implosion.
Hence unless there is a " recoil," the p cannot be
heard in the pause. There is actually no glide
from m to p, and we have to say lamp . If voice
follows, the p becomes evident, at least by a
si'.ence, cutting off even a slur. Thus lamplighter
lamplei'ter (using ei and er as in English Glossic)
is not at all lam-^-pleiter or lam-pleiter, but is
really lauw-yleiter. The p seems, therefore, to
replace the sign of clear release. It is, however, a
j little more than that. On saying lam it will be
I found difficult to shut .off the voice sharply and
! cleanly if the nose passage be not suddenly
I stopped. If we stop the nose without the voice,
we say lamb (which is no longer pronounced,
although it is written, in English). If we stop
the voice only, we say lam?. If we stop both voice
and nose, we say lamp, and by this means we
shorten the m considerably, and cut it off with
quite a clean edge. Mr. Melville Bell writea
lamhp, which I do not hear. But we must not say
lambp . Similar difficulties occur with respect to
hint, thingk, where, without the recoil, only hint,
thing i can be heard, so that we have to say hint ,
*hingk Q . Precisely as we had lam, lam}, lamb,
bmp, of which the last ends most cleanly and
pharply, we have en. enj, end, ent. and ing, ing^

Sec. IX.

MIXED AND CONSONANT GLIDES. SYLLABLES.

ingg, ingk. This sharp, clean ending is very
evident in speech, but it is more difficult to make
it evident in singing, where under no circumstances
would the m, n, ng be sustained. Hence in singing
before a pause, the recoil may become a full flatus,
as lamph, hinth, thingkh, sacrificing music to
audibility.

In the above cases felt, lamp, hint, thingk, the
vocal and the mute had the same form of mouth.
But in ' attempt, winked,' and also in ' length,
anxious,' the vocal differs in position of the mouth
from the following sonant or hiss. Hence by
applying the rule we are able to make a glide up
to the new position. The nature of this glide is,
however, complicated, through the opening of the
nose. We might evidently make it nasal, as
u'tem-\-nt, wing-\-nt, leng-\-nth, ang-\-nshus. This
is not done, and if any persons have a habit of
doing so they should correct it. We might also
shut off the nose, allowing the corresponding
sonant to be heard, and then run on to the final
mute or hiss, thua utemb-\-t, wingg-\-t, lengg-\-th,
angg-^-shus. But the practice of English speakers
appears to be to end the nasal with a clear release,
and then hiss or make the final mute evident by
recoil or flatus, without any glide preceding it, as
u'tem}...t, wing^...t, lengi...th, ang}...shus. This
clear release is best made by the clean edge given
by the introduction of the corresponding mute, as
utemp.. t, wingk...t*, lengk...th, angk...shus, or, as
we write in -English Glossic, atemp-t, wingk't,
lengk-th, angk-shus. Mr. Melville Bell again writes
atemht, winght, lenghth, anghshus, which I have
not observed, and find difficult to render evident.

The case of s final has to be especially noticed.
In -Is, -ms, -ns, -ngs, there is, of course, a constant
tendency to say -Us, -mpls, -nts, ngks, in order to
prevent -Iz, -mz, -nz, -ngz. It so happens that we
have most of the cases in English, and the speaker
and singer should learn to distinguish them ; thus
else, belts, ells els, belts, eh; empts, hems empts,
hemz, sense, scents, fens sens, sents, fenz, thinks,
things thinfffcs, thingz. The distinction is simply
this, that in -Is, -ns the voice glides up to the

* position, without check ; in -Its, -nts, the voice is
checked by the mute position, forming a very clean
edge, and then there is a hiss glide from that
position to the s, and in -Iz, -nz, the voice is carried
completely through the * position. In many words
the distinction -ns, -nts is of importance, as
presence, presents prez-ens, prevents, accidence,
accidents ak-sidens, ak-sidents, Sec., and hence it
should be well understood.

Initial Consonant Glides of a Hiss on to a Vocal,
or the Buzzes W, Y. The only cases of a hiss
gliding on to a vocal in English are sw- (or sw'-),
si-, sm-, sn-,fl-,fr'-, thr'-, thw- (or thw'-), shr'-,
and in German there also occur shl-, shm-, shn-, as
in swim swim (rather than sw'im), slay slai, smooth
smoo'dh, snort snawt, floor flaou, f risk fr'isk, throw
thr'oa, thwart thw aw t (rather than thw'au-t),
shrine shr'ein, and German schleichen (sneak)
shlaayky'hen, schmolz (melted) shmaotts, schnee
(snow) shnai. The combination shr'- initial offers
difficulties to many English and American speakers
who are apt to say sfein, thus the inhabitants call
Shrewsbury, Shropshire Sroa'zbur'i, Sr'op'shur.
The difficulty arises from passing from a hollow
front of tongue (diagram 26) to an arched front
(diagram 21), and would be avoided by saying
either sh t rein or sr'ein, but neither being admis-
sible in received English, the organs must be
practised constantly (for many hours in bad cases)
till they learn to make the transition easily. The
tongue being arranged for sh, sound that hiss,
then convert it into sh' by arching the front, and
then slide the tip along the palate till it requires
merely releasing to vibrate for the rh, iising flatus
only. The real sound said seems to me to be
rather shr'ein than shr'ein, and the whole difficulty
is surmounted when the sh' position is substituted
for that of sh. Indeed it is possible to trill the
tip of the tongue when it is held in the sh' position
as well as when it is held in the s position (and I
think that the sh' trill, or rsh' as it may be written^
is actually used in Polish, as przez (through)
prsh'aez). The whole difficulty then resolves

100

MIXED AND CONSONANT GLIDES. SYLLABLES

Sec IX.

itself into making an sh without hollowing the
front of the tongue, that is, converting it into sh' .
The German sh before v\ I, r', m, n may be a true
sh, but in the common pronunciation of stehen
(to stand), spielen (to play) and similar words
beginning with ' st, sp,' throughout the greater
part of Germany, the sound is really sh'tai-n,
sh'pee'len, and not shtai-n, shpee'len, which is felt
by Germans to be broad and vulgar. (This is a
point on which I have made careful observations,
and had many discussions with Germans) . In the
North of Germany, in Hanover (Haan'noa'vur > Ji
and Hamburg (Haam-buor 1 gy' h) , it was common to
say stai-n, spee-len, but I have been informed by a
Saxon resident in Hamburg, that such a pronunci-
ation is never used on the stage there. I have,
however, beard it in the pulpit. In Silesia
(Schlesien Shlai'zeeen} even sv'aar'ts, smaa'l, snaay-
dur' may be heard for Schwartz, schmal, Schneider,
shv 1 Harts, shmaa^l, shnaaydur' (black, narrow,
tailor). Observe that the final -st, -sp should
aever be pronounced -sht, shp in German, or even
-sh't, -sh'p (as in August ist aawguosht eesht)
because this is a well-known and extremely vulgar
German pronunciation.

Consonant Glides between S and Mutes. The
combinations with s before and after mutes are
very frequent, as spy spei, splay splai, spread
spr'ed, stand stand, stretch str'ech, sky skei (not
sky'ei or skyeeei), script, skript , squeeze skw'ee-z,
/apse laps, helps helps, hats hats, wrists rists (not
ris'tiz or ris'tisez, both common provincialisms)
melts melts, hints hints, axe aks, hulks hulks (not
huolks), casks kaasks. In all these cases there may
always be a hiss glide made to or from the
mute. Thus s-\-p...pei, s-\-p...plai, and lap...p-\-s,
ris-\-t...t-\-s. Practice of this kind, making a
pause between the two glides of the mute, will
soon bring out the distinction between this and
s...pei, s...plai, lap...s, rist...s. Of course, we
really say -ts\ and not ts when final (p. 7l).

Treatment of Combinations of Two Mutes, and
of Initial Mute before M, N, S. Two mutes

cannot glide on to one another initially or finally,
and we have even an objection to make a mute
glide on to m, n, or * initially, hence in many
words taken from the Greek we simply leave out
the mute in these cases, and call pneumatic
neumat'ik, tmesis mee'sis, psalm saa'm, pterodac-
tyle ter'-oadak'til, and so on. But some purists
aim at uttering them, by making a recoil aftei
the mute, thus p-neumat-ik, p Q -ter-oadak-til,
&c. This is not recommended. But final com-
binations of two mutes are common in the pause
as in apt, act apt , akt or apth, akth, as it ther
becomes necessary to pronounce them, or else tc
implode, and say ap-d, ak-d, which is no1
admissible in received pronounciation. (It appears
however, that a slight implosion actually takes
place in those districts where the definite article
becomes t, as in Derbyshire, at t' dur a't d dttur'
for at the door at dhi daou). In French unde]
such circumstances an eo is always spoken, as act
(act of a play) aakteo. In such an English phras(
as * you must ac towards me, act dutifully,' th<
final mute, t, is, I think, omitted, and its place
supplied by a silence. The tongue indeed takes
the proper position for the t, but there is no recoil
because the tongue would have to be brought uj
into the same position for the following t or d, and
this would be inconvenient, compare akt tao-udz.
aktdewtifuli. Hence the t is felt by the speaker
but is merely telegraphed to the listener by t
moment of silence. The singer has, therefore, nc
occasion to trouble himself with the mute, but will
simply omit it in such rare cases.

Principle of the Division of Syllables. The
whole nature of syllables or separate groups of
sound, is contained in the two Sections VI and IX
on glides. The nucleus fneu'kliusj or centra]
core or pith of a syllable is a vowel or vocal. A
buzz or hiss is not sufficient to produce the effect
unless it stands alone. This by itself will have an
attack and release, and thus really form a group of
a vowel and two glottids, but these glottids not
being generally written (except in the case of the

Sec. IX.

MIXED AND CONSONANT GLIDES. SYLLABLES.

101

aspirate) in European languages (except Greek),
there is an appearance of a single vowel, say aa for
jaw at full. But in place of the attack and
release, another vowel, or some consonant, may
glide on to it, and this vowel, if initial, will have }
an attack, but no release, as it simply passes into
the original aa, as fiaai, and will have a release
but no attack if final, because it simply continues
the central vowel, as laauoj, fiaauof. Then other
vowels and consonants may glide on to this, as laauo,
plaauolp, or laaw pyaawlp, and this can be continued
till we come to a mute or sonant. After this only a
hiss, or buzz, or sonant can properly be placed, on
to which the former mute or sonant would glide.
If a mute be added it can only be rendered sensible
by the recoil in the pause. If any vowel or vocal
followed we should have the core about which a
new syllable would be built, and some of the final
consonants of the preceding syllable, such at least
as could be used as an initial combination, would
immediately be attracted away from that syllable,
and combine to form part of the next. Thus if
after pyaawlp we added ai, the final p would cease
to act upon the preceding I, which would at once
slur up to it, and would form the initial of the
glide into ai, thus pyaawl-^-pai. "We thus get a
conception of the mode in which syllables separate,
but the habits of different languages differ greatly
as to the preservation or omission of the glide, or
its conversion into a slur, and it is not necessary
for the present' purpose to go into the complicated
details of the subject Much depends upon the
position of accent. In English a single consonant
between two vowels, of which the first is accented,
is medial, that is, glides on to both, as valley
va-\-l--\-i, polling poa- -\-l-\-ing, matting ma-\-t'-
\-ing. The syllable divides then in the middle of
the consonant, that is, between the glides. But in
"syllabising" (sil-abei-zingj, which is an entirely
artificial process, intended to bring out the separa-
tion of the groups distinctly, we separate the
glides by a pause, thus ' splitting ' the consonants
(p. 905j and say val-...li, roa'l...ling, mat- ...ting ',
or even math ..ting and thus do not distinguish

between the three cases of medial, double, and
split consonants, val-i, val'li, val\..li, which are
really distinguished in natural speech. To this
syllabising we may attribute the frequent doubling
of consonants in written words, where there is no
doubling in actual speech. The speller syllabised
and wrote what he heard during this artificial
process, and not what he usually pronounced when
speaking naturally. This doubling occurs chiefly
after short vowels, because the short vowel re-
quired a consonant to "stop" or "close" it, and
allow it to be pronounced distinctly without
lengthening. But the long vowel not requiring
it, the speaker syllabised 'rolling, paling,' a?
roa',..linff, pai-.. ling, and would naturally unit*
them so with one consonant, although in actua
speech there is just as much of a glide from the I
to the preceding vowel as in val-i.

Special Rules for Dividing Consonants between
Two Syllables. When several consonants come
between two vowels, of which the first is accented,
some of them certainly glide on to that vowel, and
one may glide both ways, provided it can form an
easy combination with the preceding consonant,
but otherwise it is attracted entirely from the first
vowel to the second, and is at most connected by a
slur. Thus lapse lap-\~s, but lapsing lap...s-\-ing,
battle bat--\-l, but battling bat '...ling, because tl is
not a usual initial combination, and bat-l-^-ling
would make three syllables, but ask aas-k,
aas- -\-k-\-ing.

Where the singer is forced to divide syllables by
awkward phrases which oblige him to take breath,
he may follow this rule : " When several con-
sonants come between two vowels which make an
easy final or initial combination, they may be
separated anywhere, and the consonant of separa-
tion may be repeated," thus aas...sking, aask...king.
"But where there is the least difficulty as to
final or initial pronunciation, divide where it
seems easiest, and do not double the consonant," as
startling staa-t ..ling, not staa-tl...ling, which is very
bad, introducing a new syllable, or 8taa\..tling,

102

MIXED AND CONSONANT GLIDES. SYLLABLES.

Sec. IX.

which gives an unusual initial combination, and

omits a glide. Again, struggling strug-...ling

rather than strug'...gling, because of the difficulty
of ff l-,

" When there are two mutes or sonants, or a
mute and sonant, between two vowels, taken one
to one and one to the other," thus acting ak'...tmg>
not ak-t ..ing, which is never said, obdurate
ob'-~deuret, obtuse ob.. tews.

"WTien, however, the accent lies on the second
vowel, or on neither vowel, the single consonant
(or the whole combination if initial) is taken to the
following vowel, and the first at most glides up to
it. Thus happily hap'i-^-li, reprove ri-^-proo-v, but
restore res-^-stao'u, respond res-^-spon'd, restrict
res--strifct. The singer, however, may say
ri ..stao'u, ri...spon-d, ri...strik't, to avoid length-
ening the hisses.

The whole of these directions for dividing
syllables may be comprised in the rule : " Divide

where it best suits your convenience, but if
possible avoid losing the glides on to the accented
vowels, and avoid making them on to preceding
unaccented vowels." Similar rules will apply in
German. In Italian, however, the intermediate
consonants should, when practicable be taken to
the following vowel, so as to end all syllables with
a vowel as much as possible. Consonants end
syllables in Italian only when they also end a
word, as amor aamoa'r' for amore, or are followed
by another consonant in the same word, as onda
oan-daa, or are "energetic" (p. 900), another
vowel following, as anno aan-noa. In French,
on the contrary, where there is no really accented
syllable, the intermediate consonant is always
medial in actual speech, though theorists always
separate it from the preceding vowel. This
happens even between words, and gives a peculiar
character to the language ; thus in ma femme my
wife) maafaam, the / is medial, sa grotte (her
grotto) saag-r-raot.

('ITCH, FORCE, brio.

103

X, LENGTH, PITCH, FORCE, ETC,

LENGTH (OR QUANTITY), PITCH (OR MUSICAL ACCENT), FORCE (OR
ORDINARY ACCENT AND EMPHASIS), QUALITY OF TONE, WEIGHT
(OR IMPORTANCE), AND SILENCE (OR PAUSE) AS ELEMENTS OF
SPEECH.

Introduction. Besides the vowels and conson-
ants, glottids and glides, by which speech sounds
are generated and formed into words, all languages
distinguish certain parts of syllables, and certain
syllables in a word, and certain words in a
sentence, by alterations of duration of utterance,
or pitch of the voice, or loudness, or emotional
quality of tone, or other characters denoting the
importance attached to them by the speaker,
including the pauses between words. The full
consideration .of these belongs to works on elocu-
tion, and affects the public speaker more than the
singer. But no singer can deliver his words
properly without being thoroughly aware of the
nature of the plans used for giving prominence to
special words and syllables. In the following brief
remarks, the result of long study, sufficient is
given to make an intelligent pupil understand the
principle on which he has to proceed, and con-
venient terms and notations are furnished, which
will enable him to think and write accurately upon
a subject hitherto treated with great laxity and
indistinctness.

Length of Spoken Sounds, and its Notation.
A syllable when formed may require more or less

time to pronounce, arising from the various lengths
of its vowels, of its glides, and of its consonants,
separately and jointly, and this total duration is
called the length of the syllable. This is an
extremely important consideration to the speaker,
who relies upon the length of his syllables for
much important discrimination of meaning. It is
important to the versifier, because ancient Greek
and Latin and other rhythms used to depend
entirely on the comparative lengths of syllables,
and all rhythms are more or less affected by this
length. It is important to the musical composer,
who ought in composing music to given words to
suit the lengths of his notes to the lengths of the
syllables to which they are given ; and conversely
it is important to any poet who adapts words to
given music. But it is not important to the singer,
because the time in which he is to pronounce each
syllable is strictly assigned by the notes before
him, from which he in general is not allowed to
deviate in the least degree. The singer has often
to pronounce a naturally very long syllable in an
unnaturally short time, or a naturally very short
syllable in an unnaturally long time, if the com-
poser has so willed it. If the singer's words

104

LENGTH, PITCH, FORCE, ETC.

Sec. X.

consequently becomes difficult to catch by the
listener, it is not the fault of the singer but of the
composer. The singer's business is to make the
most of the musical character of his vowels, to
take the utmost care of his glides, and make them
share the time at his disposal with his vowels, and
cut the buzzes and hisses down to the shortest
intelligible duration. He will therefore have to
practise singing long syllables, as slee-ps, to rapid
notes, and short syllables, as puot it bale, to very
long notes, bringing out the glide tightly at the
end. That is to say, the singer is to act as if he
knew nothing of naturally long and short syllables,
but to take the composer's and writer's orders on
that point and obey them. It is a great misfortune
that both authors and composer's in general treat,
and have apparently always treated language as a
vehicle of music with such little regard to its
natural laws, as to lay themselves open to the
imputation of ignorance.

For the speaker it is convenient to have the
power of marking three lengths of vowels, as aa
long, aa medial, aa short. And for English readers
whenever short vowels are written by two letters
in Glossic, or long vowels by one letter, it is con-
venient to use marks of long and short, although
the medial will not be required. Another way of
marking these varieties of length in connection
with force of utterance will be given hereafter.
But the singer as such has no interest in these
distinctions, which are so important to the poet
and orator.

Pitch, of Spoken Sounds, and its Notation. In

speaking we alter the pitch of the voice con-
tinually (although never using strictly musical
sounds), gliding up and down on the same vowel,
and varying the intonation of our sentences
according to their meaning and the association of
such melody with such meaning, which is gener-
ally very different in different countries and
different parts of each country. It is quite
different in London and Edinburgh, in Germany
and Italy, and especially France. A foreigner is

known at once by his ' tune ' or ' accent,' as it is
often wrongly called. In none of our four
languages, however, is there any obligation for the
speaker always to raise or always to lower the
pitch of his voice upon certain syllables, as there
was in classical Greece and Rome, and as there
still is in Norway and Sweden. The composer,
therefore, is free to do as he likes, and the singer
has merely to do as he is ordered by the composer.
Hence it is needless to make any remarks for the
use of singers on this very difficult subject. For
the use of speakers, however, it is occasionally
convenient to use the following notation An
unmarked vowel, as aa, is to be spoken at a middle
pitch, such as is used in ordinary speaking ; a
detached acute accent mark, as aa', indicates a
higher, and a detached grave accent mark, as aa* ,
indicates a low.er pitch than this middle one. This
was the meaning of the ancient Greek acute and
grave accents. The pitch in each case is supposed
to be sustained during the whole duration of the
vowel. But aa'* will mean begin at a high and
glide down to a middle pitch. This was the
original meaning of the Greek circumflex or
' down glide.'

Force of Spoken Sounds, and its Notation.
On listening to a person speaking at so great a
distance that his individual words cannot be dis-
tinguished, he will be felt to utter a broken, un-
connected series of loud or strong sounds, with
half heard soft or weaker ones, and silences
between. A street orator or open-air preacher ia
an excellent example for the purpose. This shews
us that the speaker must have made a great
difference in the loudness of his utterance, and we
feel that the apparent silences do not arise from
actual cessation of tone, but only from weaker
sound, which is not heard at a distance. We thus
learn to distinguish different degrees of force in
the utterance of syllables, and to divide syllables
generally into "weak" and "strong," between
which lie many degrees, called collectively "mean."
In English, German, and Italian the whole of

Sec. X.

LENGTH, PITCH, FORGE, ETC.

105

versification depends on the alternation of strong
with either weak or mean syllables, and neither on
the length nor pitch of those syllables. In French
the rhythm (founded on an extinct pronunciation)
depends rather upon the number and nature of the
artificial (not natural) syllables in a line, and has
only a very remote relation to their force. In
English, German, and Italian, when several
syllables are invariably spoken together, in order
to express a " thought," forming a word, one is
invariably " strong " in comparison with the rest,
and if the rest are more than two in number, one
or more will generally be mean and the others
weak. When several words of one syllable are
put together to form a phrase, the same rule for
strong and weak applies to the phrase, with the
following difference. In a single word of many
syllables, the strong, mean, and weak syllables
always retain their relative positions wherever and
whenever the word is used ; that is, the position of
strength and weakness is "fixed." But in a phrase
the strong syllable often varies when the same
phrase is used in different places under different
circumstances; that is, the position of strength
and weakness is " free." The " fixed " syllable,
which is always strong in every word of more than
one syllable, is said to be " accented," or to have
the " accent ;" and if there is also a mean syllable,
the strong is said to be " primarily accented," or
to have the '.' primary accent," and the mean to be
" secondarily accented," or to have the " secondary
accent" fprei'mer'ili, sek' under 1 ilij. The variable
syllable in a phrase which becomes strong is said
to have " emphasis " (em-fusisj, or to be emphatic
(emfat-ikj . The difference between accent and
emphasis as applied to syllables, then, may be
briefly stated as " accent is fixed, emphasis is free."
But on examining larger phrases or " clauses "
which contain words of one or more than one
syllable mixed together, we always find that at
least one whole word is more prominent than the
rest, and may be termed a strong word, and that
there are also other words of mean force. This
strength of the word, however depends on its

meaning and the intention of the speaker. It ia
therefore, " free," and not " fixed." Hence we
term it the " emphatic " word, and say it has
"emphasis," while the "mean" words have
" secondary " emphasis. When the strong word
has several syllables, all of its syllables are
stronger than they would have been if the word
were weak, or had only mean force ; or else the
strong syllable of a strong word is made remark-
ably prominent (See "Teacher's Manual," art. 629).
Hence we require a mark for the strong syllable
in a word of several syllables, and the strong word
in a phrase. In Glossic we write (), a turned
period, called the mark of " accent," or more fully
of "force accent," and place it after the long
vowel, or after the consonant or consonants follow-
ing a short vowel, in a word of more than one
syllable. The mark thus serves to mark lengths
as well as force, tlaua fee- liny, fel-iny. If there is a
mean syllable in the word, it is not usually dis-
tinguished from the strong in Glossic writing,
thus aa'ftunoo'n, circumspection ser'kumspek shun,
insufferability imuf-ur'ubil'iti. If it is thought
necessary to distinguish medial length, without
using accented letters like aa, the (:) is placed
before (instead of over) the vowel, as l:aa-ftu
laughter, the () still marking the accent. If it is
desired to distinguish the secondary accent or
medium syllable, the mark (') may be placed after
the long vowel, or the consonant following a short
vowel, as aa''ftunoo m n, insuf''ur'ubil'iti. For the
strong and mean words the marks () and (') are
prefixed to the whole word, as : " Shall YOU ride to
town to-day ? " shul -eu -'reid tu town tudai' ? But
if the word is of many syllables it retains its accent
mark as well as its emphasis mark, as : " He is in-
sufferable, but NECESSARY" hee'z 'insuf-ur'ubl, but
nes-eser'i. In unemphatic words the position of
the accent mark will shew the length of the vowel,
as in hee'z in the last sentence. Vowels unmarked
are to be taken as short or at most medial in
length, and weak or at most mean in force. Else
the long, medial, or short marks are used over
them, as dog'roaz.

106

LENGTH, PITCH, FOECE, ETC.

Sec. X

The strong syllables are of the utmost importance
ic English, German, and Italian. If in a word of
many syllables, the wrong syllable be made strong
in these languages, the word generally becomes
unintelligible. In all three of them the alterna-
tion of strong and weak syllables regulates
versification, although, of course, rhythm is
swayed by other considerations also. In English
especially, the vowels in weak syllables are always
much obscured (see Section XI., A. III.) although
they recover a little in mean syllables. The
weak syllable immediately following a strong
syllable is most affected. To be intelligible, the
singer, although lengthening his vowels, must still
continue to give them this obscure character.

In German some syllables only are thus obscured.

In Italian the weak syllables are as bright as
the strong ones.

For French all this is different. There is no
" fixed " force, either on words of one syllable, or
on words of many syllables, either as accent or
emphasis. Strong syllables are throughout free
with this exception that only a very small set of
syllables (those containing so-called " mute e," or
" muto-guttural e") are weak, and in speaking such
syllables are very weak indeed, while the rest bear
to the first the relation of mean to strong. But
the actual syllable to which predominance is given
in a word varies according to the construction of
the sentence, and it appears to me, after long and
attentive examination continued for many years,
that any positive laws laid down respecting isolated
French words are misleading. The foreigner had
better endeavour to pronounce each French syllable
that is not weak with about equal force and length,
and to hurry over the weak syllables as fast and
lightly as he can. The pitch of the voice in
speaking seems frequently to rise at the end of
clauses, and to be monotonous throughout a clause.
The whole effect is like a necklace of beads strung
together by an invisible thread, and the want of
" fixed " force occasions great difficulty to a
foreigner in grouping the syllables into words.
To appreciate French enunciation and declamation

fully is the work of years. The great mobility
and lightness of the syllables, and utter freedom
as regards force (and even length in the present
pronunciation) gives a great peculiarity to the
setting of French words to music. This is in-
creased by the adoption of an older principle
whereby what are now very weak syllables in
speaking are allowed in singing to have as much
strength as any of the others. This peculiarity
renders the adaptation of English words to French
music generally very difficult, and nothing can
generally be worse suited for the intelligibility of
the words. The effect is almost that of playing
variations written for a flute on a trombone.

In the matter of force, although a composer
lays down the law with tolerable strictness, it is
not so binding and inevitable as the laws of length
and pitch. True, the "barring" of music de-
termines a certain alternation of strong, mean, and
weak ; and a liberal use of signs for crescendo and
diminuendo, from forte to fortissimo, and piano to
pianissimo, with sforzando, staccato, legato, and the
like, convey tolerably strict orders to the singer,
which he ought to obey. Yet he is frequently left
to his own resources to bring out the effect by
alterations of force. Is he to do so by the same
use of accent and emphasis which he would employ
in reading the passage to, a public audience, with
the best declamation he can command, or learn
from books ? He cannot do so without sacrificing
the musical effect which obliges him to take
another view of the words. The only cases in
which he has a chance are those of chanting and
recitative. In both of these the singing voice,
so utterly different from the speaking voice, bars
the way. In chanting, the monotone of the reciting
note is entirely opposed to the habits of speaking.
The recitative has indeed variety, indeed so great
a variety of pitch, that no speaking voice would
naturally produce it. The singer, therefore, has
in every case to sacrifice the effect of accent and
emphasis to the need of music, or to learn the
difficult art of " musical elocution " as distinct
from " spoken " elocution. It would be useless tc

Sec. X.

LENGTH, PITCH, FORCE, ETC.

107

enter into such a subject here. Each particular
song requires its own study. No rules have yet
been laid down, but musical elocutionists exist,
whose business it is to teach the singer how to
bring out either the feeling of the composer and
poet, or at any rate their own views of it. Those
who cannot have access to them, and whose own
teachers have not the power to teach musical
elocution, must trust to their own musical feeling
and musical sense. But the ordinary rules for
spoken declamation would utterly fail. We may
endure and even admire a tragedy when sung as
an opera, but a player that imitated the singer
would be deservedly hissed off the stage.

Quality of Tone in Spoken Sounds, and why it
is not furnished with a Notation. Force is, how-
ever not the only free or tolerably free weapon at
the command of the singer. There is another
and much more powerful weapon original and
emotional quality of tone. The power to give
totally different original qualities of tone to the
notes of the same pitch, and sung to the same
vowel (which as we know merely modifies the
quality of tone originally produced) gives the
natural human voice its wonderful superiority over
every artificial instrument. The violin can do
much in this way by the force and place of
bowing, by taking the same notes on different
strings, or as harmonics, and so on. But all its
power is as' nothing compared to the human voice.
The consideration of this subject, however, be-
longs, not to a treatise on pronunciation, but to
the highest walks of the singer's art It is enough
to mention that the form given to expression by
quality of tone varies greatly from nation to
nation, and that what speaks to the heart in one
style of music, and to one kind of audience, falls
dead to another. And finally, that whatever
singer makes himself into a mere musical instru-
ment by disguising his words, must utterly fail
in touching or delighting anyone. For the soul
speaks by words, and if the words are unheard, the
soul is dumb.

Weight of Spoken Sounds. In speaking and in
singing, there is something different from length,
pitch, force, or quality of tone, by which the
speaker or singer conveys the sense of importance,
although each of these elements, and combinations
of two or more of them, are of course constantly
employed for the purpose of giving this expres-
sion of importance, varying under different
circumstances. This effect may be called weight,
and words and syllables may be distinguished in
this respect as heavy, moderate, and light. The
effect may be described on the whole as mental,
depending upon the conceptions conveyed, rather
than the means of conveying them. Sometimes
the most important and heaviest v/ord, the utter-
ance of which conveys an -electrical shock to an
audience, or which seems to give the whole
meaning to all that preceded, is uttered in a weak,
low, and even short, toneless voice ; though at
other times again in a voice of thunder. These
are, however, extreme cases of rhetorical effect.
But generally in English the substantive is heavier
than its qualifying adjective, though the latter
may be much stronger and even longer, while it is
frequently higher. Again the verb is almost
always heavier than either its subject or object,
although it is very frequently weaker. These
differences scarcely affect the singer, except in the
rendering of verse, which in English depends
much on weight for its actual rhythm.

Silence as an Element of Speech, and its Nota-
tion. The interval between two audible sounds
has a most important influence on their mental
effect. We are all familiar with this in instru-
mental and vocal music, and in all kinds of
declamation. Silence may be great, medium, or
small, in respect to duration, and it may be
absolute or merly apparent in respect to quality.
For absolute silence, no vocal effort is made, but
the respiration may go on quietly, or even
respiration may be suspended, so that the attention
of the listener is directed towards the forthcoming
sound, which may come with a burst, or the slightest

108

LENGTH, PITCH, FOECE, ETC.

Sec. X.

possible indication of voice. In apparent silence,
there is really no suspension of vocal utterance,
but merely a great diminution of force a length-
ened slur. The difference to the speaker or singer
is of course great, because after absolute silence
there must be an entire re -adjustment of the vocal
chords, which are kept in action during the
apparent silence. As an element of rhythm and
singing, silence may be always considered as
absolute and in singing should therefore begin
with a clear release, and end with a clear attack.
In singing, the composer always sufficiently indi-
cates the silences and their lengths. In speaking,

the writer very inadequately represents them by

punctuation. This may be roughly improved by

adding ( ), a turned mark of degrees, for a small,

( 00 ) for a medium, and ( 000 ) for a great silence.

Mr. Curwen, in the " Teacher's Manual," arts.

j 637 661, has endeavoured to indicate silences by

I musical subdivisions. This is very well adapted

| for simultaneous chanting, where an exact indica-

i tion of the duration of silences is indispensable,

I but not for such rhythmical utterance, even in

j verse, as is usual among public speakers and

| readers at the present day, when exact rhythmical

cadence is carefully avoided.

KAGLISll RXF.RCTSES WITT? \RTIFrCT4L WORDS.

109

XI. EXEECISES

Introductory Remarks. The object of these
Exercises is to suggest rather than to give a
complete method of practising the pupil in all the
points explained in the previous Sections. The
teacher must know all that precedes, in order to
correct any error, and to direct the process of
study. But the pupil will learn the details inci-
dentally. The teacher and the advanced student
who make use of this book, should carefully go
through the whole exercises themselves, not
mentally but actually ; for it is only by ascertain-
ing the effect of such practice on their own vocal
organs that they can properly direct the pupil and
insist upon the necessary repetition.

The Exercises have been separated from the rest
of the work, because it would have been almost
impossible, and certainly inexpedient, to have made
distinct exercises for each point discussed as it
arose, avoiding all others. The pupil does not
need such an analytical treatment of the subject.
He is used to regard sounds as a whole, and he
must be led to analyse them for himself. The
presentation of the details in a strictly systematic
order would confuse him. Such an order is, in
fact, of no importance at all to the pupil, who can
begin anywhere. Hence a very few examples have
been given in the course of the exposition, and
even for those it was frequently necessary to
anticipate what followed, and in order to make them
intelligible a short key to Glossic had to be pre-
fixed ; but any key or system of writing necessarily
involves a more or less complete analysis of speech
sounds.

A pupil is supposed to be already able to speak
and read his own language. But he will prottably
have errors or difficulties of pronunciation to sur-
mount, and he will always have to be led to a
knowledge of how to make language intelligible as
sung. The first care of every teacher must, there-
fore, be first to ascertain what are the points in which
the pupil needs assistance, and then to exercise
him especially in those, leaving the other points,
on which he needs little or no assistance, to be
treated incidentally. The first exercises are
therefore directed to the discovery of these weak
places. But the exercises range over all such
possibilities. The teacher will therefore have to
select those which are necessary in any particular
case.

The first exercises are general, and relate to all
the sounds occurring in English strong syllables,
and especially in the glides, by means of artificial
combinations, which have no meaning as words in
actual use. Then follow a series of exercises, in
which actual words are employed, arranged princi-
pally to bring out the differences of vowel and
consonant sounds. In the G-lossic Index in the
next Section real words are given, shewing the
actually existing glides of every vowel and
diphthongal sound in strong syllables on to any
following consonant, and of every consonant on to
every other consonant and vowel at the beginning
of words. This Index consequently forms a
supplement to this part of the exercises. It will
also refer the teacher in every case to the page
where the sounds on which he is exercising the

110

ENGLISH KXEEC1SES WITH ABTIFICIAL WOEDS.

Sec. XI, A. I.

pupil are fully described. Hence it has not been
thought necessary to add a crowd of such re-
ferences to every example. The next series relates
to weak syllables, which have to be differently
treated in singing and in speech, and these also
exercise on the slurs, and on the alternation of
strong and weak syllables.

After this general treatment of English sounds,
those who wish to proceed to a study of German,
Italian, and French sounds, will find a few special
exercises on their additional or peculiar sounds,
especially on those points in which they differ
from English.

It is intended that these exercises should all be
either " pointed " from certain charts, or " pat-
terned" by the teacher. Such a book as the
present is, of course, unfitted for the young pupil.
The teacher will himself supply the needful ex-
planations, to the extent required for each Exercise
and no more. In this way the apparent difficulties
will dwindle to nothing, and attention will be
directed solely to surmounting the real difficulties.

A. ENGLISH EXERCISES.
I. ARTIFICIAL STRONG SYLLABLES.
General Tables of English Sounds. The follow-
ing lines should be boldly printed on a chart, large
enough for a whole class to see, and for the teacher
to point to any letters, or slide his pointer from one
letter to another, to indicate glides, without the
chance of confusion by the pupil.

ENGLISH INITIAL

COMBINATIONS OF (

bl-

blak black

kr'-

krum crumb

br'-

broun brown

kw-

kwilt quilt

bwoi (occasionally) buoy

pl-

plai play

dr'-

drau draw

pr'-

pr'ins prince

dwau'rr'f dwarf

sf-

sfee'r sphere

fl W

/loo flew

sk-

skau-ld scald

fr'-

fr'og frog

skr'-

skrip-teur scripture

gl-

glee-n glean

skw-

skwee-z squeeze

grr'.

graas grass

sl-

sloa slow

gwaa'noa guano

sm-

smawl small

kl*

kloa-dhz clothes sn-

snoa snow

CHART OF ENGLISH SOUNDS.
peep tait kaak baub doacl goog
whif ses shash wov zuz zhuozh

feif thoith vouv dheudn
hei hoi hou yheu hai'y hoa'w
cheech chaich chaach jauj joaj jooj
ling meng nang lul mom nuon

r'eerr' r'airr' r'oarr' r'oorr 7

The above chart is arranged so that the artificial
words can be sung to the notes of " God save the
Queen." It also contains all the initial and final
single consonants which occur in our language,
but no combinations of consonants. These are
supplied by the following table of initial and final
combinations, arranged in alphabetical order for
ease of reference, the initial combinations being
placed in the order of the letters from left to right
(that is, in the order of common dictionaries), and
the final combinations in the alphabetic order of
the letters following the vowel and also from left
to right. The groups ch dh ng sh th zh (called
chee dhee ing ish ith zhaij are here reckoned as
single letters, so that the alphabetic order of the
consonants is taken to be b chddhfghjklmn
ng p r r s sh t th v w wh y yh z zh. The permissive
trill implied in r is supposed to be always made,
and hence rr' is always written before consonants,
and should be used at least as an exercise. This
list is especially intended as a guide to the teacher
in forming exercises as afterwards explainer

OF CONSONANTS.

sp- spee-k speak

Spl- splash splash

spr'- spring k- 1 sprinkle

St- stand stand

Str'- str'ai stray

yw- swai'r swear

shr'- shr'ee-k shriek

tr'- tr'out trout

tw twein twine

thr'- thr'oo through

thw- thwau-rrt thwart

Sec XI, A. I.

ENGLISH EXEKOiSES WITH ARTIFICIAL WORDS.

Ill

ENGLISH FINAL COMBINATIONS OF CONSONANTS.

-bd

rubd

rubbed

-Ips helps helps

-pts adei

-bz

rubz

rubs

-Is els else

-pth dept

-cht

r'ee-cht

reached

-It hilt hilt

-pths dept

-dth

bredth

breadth

-Its hilts hilts

-rr'b baa

-dths

bredths

breadths

-1th helth health

-rr'bz baa'rt

-dz

padz

pads

-Iths helths health's

-rr'ch aa-t

-dhd

bree 'dhd

breathed

-lv shelv shelve

-rr'cht aa-rr'

-dhz

bree'dhz

breathes

-Ivz shelvz shelves

-rr'd baa")

-fs

kufs

cuffs

-lz elz ells

-rr'dz berr

-ft

theft

-md hemd hemmed

-rr'f who

-fts

thefts

-mp lamp lamp

-fth

fifth

-mps lamps lamps

-rr'fs wha

-fths

fifths

-mpt atemp't attempt

-gd

begd

begged

-mpts atemp-ts attempts

-rr'j err'.

-gz

begz

begs

-mt atem't occasional for atemp-t

-rr'k err'

-jd

jujd

judged

-mts atem'ts occasional

-rr'ks sherr

aks

axe

for atemp-ts

-rr'l err'

-kst

fikst

fixed

-H1Z hamz hams

-rr'lz whe

-ksth

siksth

sixth

-nch fiinch flinch

-ksths

siksths

sixths

-ncht fiincht flinched

-rr'm w*

-kt

akt

act

-nd hand hand

-rr'md wi

-kts

akts

acts

-ndz handz hands

-lb

bulb

-ndth thou-zendth thousandth

-rr'mz ^ a ' r

-Ibz

bulbz

bulbs

-ndths thou'zendths thousandths

-rr'n lerr

-Ich

filch

-nj chai-nj change

-rr'nd lerr

-Icht

fllcht

filched

-njd chai-njd changed

-rr'nt lerr

-Id

weild

wild

-ns hens hence

-rr'nZ lerr'

-Idz

weildz

wilds

-nst minst minced

-rr'p chet

-If

shelf

-nt hint hint

-ir'ps eherr

-Ifs

shelfs

shelf's

-nts hints hints

-rr'pt eherr'

-1ft

engul-ft

engulfed - n th tenth tenth

-rr's fee-*

-Ifth

twelfth

twelfth -nths tenths tenths

-rrs't wer

-Ifths

twelfths

-nz henz hens

-rr'th err'

-lj

bulj

bulge

-ngd wingd winged

-n'ths berr

buljd
elk

bulged
elk

-ngk thingk think
-ngks thingks thinks

-rr'v staa-i
-rr'vd *err

-Iks

elks

-ngkt blingkt blinked

-rr'vz staa

-Ikt

sulkt

sulked

-ngkth lengkth length

-1m

film

-ngkths lengkths lengths

-rr'z fee-t

-Imz

filmz

-ngZ wingz wings

-Sk kern*

-In

fau-ln

fallen

-pS taps taps

-sks kaa*

help

-pt wept wept

-Sp hasj

adepts
depth
depths

baa- rr'b fbaa-r'bj barb
baa' rr'bz (baa-r'bz; barbs
aa-rr'ch (aa'r'chj arch
aa-rr'cht (aa-r'chtj arched
baa'rr'd (baa'r'dj barred
berr'dz (bu'r'dz) birds
whau'rr'f (whau'r'fj
harf

wrr'fs (whau'r'fsj
wharfs

'j fu-r'jj urge
err' k (wr'kj irk
sherr 'ks (shu-r'ksj shirks

-'I (u-r'lj earl
wherr'lz (whu-r'lz)
whirls

'rr'm (aa'r'mj arm
aa-rr'md (aa'r'mdj
armed

rr'mz (aa'r'mzj arms
lerr'n (lu-r'n) learn
lerr'nd (lu-nd) learned
lerr'nt (lu-nt) learnt

(lu-r'nzj learns
eherr'p (chwr'pj chirp
cherr'ps (chu-r'psj chirps
''pt fchwr'ptj chirped
fee-rr's (fevurr'sj fierce
werr'st (wu-r'stj worst

(u-r'thj earth
berr'ths (bu'r'thsj births
-rr'v (staa'r'vj starve
'vd fsu'r'vd) served
staa'rr'vz fstaa'r'vzj

starves

fee-rr'z (fee'urrzi feara
cask
casks
hasp

112

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

Sec XT, A. I.

-sps

hasps

-ts

wits

-tht

shee-tht

sheathed

-spt

Jcuspt

cusped

-tth

ai-tth

eighth

(often

shee'dhd]

-st

rist

wrist

tths

ai'tths

eighths

-vd

haa~vd

lialved

-sts

rists

Avrists

-the

baa'ths

bath's

-vz

haa'vz

halves

-sht

husht

hushed

-zd

plee-zd

pleased

The Mode of Marking Time in the Exercises.

Between | and | one second elapses. Between
| and : or : and | , half a second. All groups of
letters or words written between these limits divide
the interval of time equally, but ( ) means, con-
tinue the last vowel for the space of a group, and
if a consonant follows as -p, glide on to that con-
sonant at the end of the time thus marked. Also
(...) means, be silent for the space of a group.
Thus in | pee | , the word lasts a whole second, in
| pee ... | it lasts half a second, followed by a
pause of the same length. In j pee . . . : pee | the
first pee lasts a quarter of a second, and is followed
by a pause of the same length, and the second pee

lasts a half-second. In |pee p pee |, the

peep lasts three-quarters of a second, finishing with
the glide on the third quarter, and the following
pee lasts only one quarter of a second. A word of
two syllables takes the same time as two single
syllables. Thus in | peepee | peeppee | each syl-
lable lasts half a second. The double bars merely
mark sections of Exercises, which may be con-
stantly repeated.

Ex. 1. To Discover any Defects in Pronuncia-
tion in order to direct future practice The

teacher reads peep, the first word in the Chart,
pointing to it, and makes each pupil in the class
pronounce it after him. He briefly notes any
defects (on paper if possible) for subsequent use,
not for present correction. Such a mark as pi
would imply erroneous introduction of flatus, p +
imperfect initial glide ; ee=i, incorrect pronuncia-
tion of vowel; +p, faulty final glide; ph, much
final flatus.

Then the teacher takes tait in the same way.
Note especially if ai has a strong vanish, as ai-y,
or whether it approaches ei in sound.

Ultimately the whole list of 38 artificial words
in the chart must be gone through in this way,
but as a commencement it will be sufficient to go
through the first twelve words.

Then the teacher sings the first line

The second line is to be treated in the same way,
lengthening the vowels, and shortening the hisses
and buzzes, especially when final.

This Exercise gives the complete series of long and
short vowels in English, except ao-, which occurs
only before r, and is hence left for the last line.
The teacher will have consequently learned all the
habitual mispronunciations of vowels and of the
most important mixed glides. By proceeding to
the third line -feif, thoith, vouv, dheud he can
examine for all the usual diphthongs in the same
way. Each pupil has to be examined separately,
as each one will have different errors, and when
several voices are speaking together, such errors
cannot be sufficiently individualised. Having gone
through the three first lines, they may be sung in
chorus and in unison to the first part of " God save
the Queen." These lines will be quite enough for
a first lesson.

The next four lines may be taken at the next
lesson, as they do not present so many difficulties.
The aspiration in hei, hoi, hou, will require atten-
tion, as well as the form of the diphthongs. In
yheu see whether the initial hiss is sounded ; most
people are inclined to say yoo. In hai-y hoa'w
observe the vanish, and contrast with tait, doad.
In ling, meng, nang, lul, mom, imon, observe whether

Sec XI, A. I.

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

113

the vowel or the final vocal is lengthened. And
in the last line reerr\ r'airr', r'oarr', r'oorr\ observe
whether trilled r' and vocal r are both properly
brought out and the vowels duly modified.

Then the whole seven lines may be sung to " God
save the Queen," for which they are specially
adapted. But as the words are all monosyllables,
and have no signification, they may be sung to any
air, beginning anywhere, and going on as long as
is necessary, and there is much advantage in alter-
ing the air and at least the order of the lines or
words, in order that the different vowels may be
sung to different pitches.

This Exercise is entirely for the use of the
master, to give him the completest information
respecting the vicious habits of the pupil.

The following Exercises can all be worked from
this one Chart by judicious pointing, but are better
sung from separate copies of the Exercises.

Ex. 2. The Vowel [ee] and Mixed Glides for
Mutes. Objects : to get ee pure (and hence an
appropriate pitch must be chosen and set by
teacher) ; to get the clear attack without any throat
glide, or tongue glide, and with the release pure ; to
make and feel the difference between this effect,
the initial glide pee, and final glide eep, and between
both the latter and peep ; to take care that no flatus
is heard after any mute. Similar for , k. The
pattern must be set by the teacher and at first
taken up by the pupils one after the other in a sort
of running fire, taking the passage between t-vo
double bars (||). The teacher beaits time,
ee | pee | ee eep | pee eep | peep |j
ee | tee | ee eet j tee eet j teet ||
ee | kee | ee eek | kee eek | keek ||
ee ee | pee pee | tee tee | kee kee ||
ee ee | eep eep | eet eet | eek eek ||
pee tee kee j ee ee ee || pee kee tee | ee ee ee ||
|| kee tee pee | kee pee tee | tee kee pee [ tee pee kee ||
|| pee tee kee | peep teet keek | eop eet eek ||
|| pee tee kee : tee kee pee | kee pee tee : pee tee kee ||

|| peep teet keek | teet keek pcsp | keen: peep teet I

| peep teet keek ||

|| peet teek : keep peet | teek keet : peek keep ||
|| peeteek : keepeet ) teekeet : peekeep | teepeek :

: keeteep ||

|| pee tee : peet ee | peetee : peettee ||
|| pee kee : peek ee | peekee : peekkee ||
|| kee pee : keep ee | keepee : keeppee ||
|| tee kee : teek ee | teekee : teekkee ||
|| peet ee keep ee | peetee keepee | peettee keeppee ||
|| peet keep : peek teep | keep teek : keet peek ||

Ex. 3. The Vowel [ai] and Mixed Glides for
Mutes. The vowel ai must have no ? vanish. It
must continue to be the same sound from begin-
ning to end in these Exercises. It must never
approach the sound of ei. Other observations as
before.

|| ai | pai | ai aip | pai aip | paip ||
II ai | tai | ai ait | tai ait | tait ||
|| ai j kai | ai aik | kai aik | kaik ||
|| ai ai | pai pai j tai tai | kai kai ||
|| ai ai | aip aip | ait ait | aik aik ||
|| pai tai kai | ai ai ai || pai kai tai | ai ai ai ||
|| kai tai pai | kai pai tai | tai kai pai | tai pai kai ||
|| pai tai kai | paip tait kaik | aip ait aik ||
|| pai tai kai : tai kai pai | kai pai tai : pai tai kai ||
|| paip tait kaik | tait kaik paip | kaik paip tait |

| paip tait kaik ||

i| pait taik : kaip pait | taik kait : paik kaip ||
|| paitaik : kaipait ] taikait : paikaip | taipaik :

: kaitaip ||

j| pai tai : pait ai | paitai : paittai ||
|| pai kai : paik ai | paikai paikkai ||
|| kai pai : kaip ai [ kaipai : kaippai ||
|| tai kai : taik ai | taikai : taikkai ||
|| pait ai kaip ai | paitai kaipai | paittai kaippai ||
|| pait kaip : paik taip | kaip taik : kait paik |l

114

ENGLISH EXB.HCISES WITH ARTIFICIAL WORDS.

Sec XI, A. I.

Ex. 4. The Vowel [aa] and Mixed Glides for
Mutes. No after sound of #, r, r'.
|| aa | paa | aa aap | paa aap | paap ||
aa | taa | aa aat | taa aat | taat ||
aa | kaa | aa aak | kaa aak | kaak ||
aa aa | paa paa | taa taa | kaa kaa ||
aa aa | aap aap | aat aat | aak aak ||
paa taa kaa | aa aa aa || paa kaa taa | aa aa aa ||
kaa taa paa | kaa paa taa | taa kaa paa |

| taa paa kaa ||

paa taa kaa | paap taat kaak | aap aat aak ||
paa taa kaa : taa kaa paa | kaa paa taa :

: paa taa kaa ||
|| paap taat kaak | taat kaak paap | kaak paap taat j

| paap taat kaak ||

|| paat taak : kaap paat | taak kaat : paak kaap ||
|| paataak : kaapaat | taakaat : paakaap | taapaak :

: kaataap ||

|| paa taa : paat aa | paataa : paattaa ||
|| paa kaa : paak aa | paakaa : paakkaa ||
|| kaa paa : kaap aa | kaapaa : kaappaa ||
|| taa kaa : taak aa | taakaa : taakkaa ||
|| paat aa kaap aa j paataa kaapaa | paattaa kaappaa ||
|| paat kaap : paak taap | kaap taak : kaat paak ||

Ex. 5. The Vowel [au] and Mixed Glides for
Mutes. No after sound of w, r, r\
|| au | pau | au aup [ pau aup | paup ||
|| au | tau | au aut | tau aut | taut ||
|| au | kau | au auk | kau auk | kauk ||
)| au au | pau pau | tau tau | kau kau ||
au au | aup aup | aut aut j auk auk ||
pau tau kau | au au au |' pau kau tau | au au au ||
kau tau pau | kau pau tau | tau kau pau j

| tau pau kau ||

pau tau kau | paup taut kauk | aup aut auk ||
pau tau kau : tau kau pau | kau pau tau :
: pau tau kau ||

paup taut kauk | taut kauk paup | kauk paup tautj

| paup taut kauk ||

paut tauk : kaup paut | tauk kaut : pauk kaup ||
pautauk : kaupaut | taukaut : paukaup | taupauk :

: kautaup ||

pau tau : paut au | pautau : pauttau ||
pau kau : pauk au | paukau : paukkau ||
kau pau : kaup au | kaupau : kauppau ||
tau kau : tauk au | taukau : taukkau ||
|| paut au kaup au | pautau kaupau |

| pauttau kauppau ||
|| paut kaup : pauk taup | kaup tauk : kaut pauk [|

Ex. 6. The Vowel [oa] and Mixed Glides for
Mutes. The vowel oa must have no oo vanish. It
must continue to be the same sound from beginning
to end. It must never approach the sound of ou.
|| oa | poa | oa oap | poa oap | poap ||
|| oa | toa | oa oat | toa oat | toat ||
|| oa | koa I oa oak | koa oak | koak ||
|| oa oa | poa poa | toa toa | koa koa ||
|| oa oa | oap oap | oat oat | oak oak ||
|| poa toa koa | oa oa oa || poa koa toa | oa oa oa ||

|| poa toa koa | poap toat koak | oap oat oak ||

|| poa toa koa : toa koa poa | koa poa toa :

: poa toa koa ||
|| poap toat koak | toat koak poap | koak poap toat |

| poap toat koak ||

|| poat toak : koap poat | toak koat : poak koap ||
|| poatoak : koapoat | toakoat : poakoap | toapoak :

: koatoap ||

poa toa : poat oa j poatoa : poattoa ||
poa koa : poak oa | poakoa : poakkoa ||
koa poa : koap oa | koapoa : koappoa ||
toa koa : toak oa | toakoa : toakkoa ||
poat oa koap oa | poatoa koapoa j poattoa koappoa ||
poat koap : poak toap | koap toak : koat poak jj

Sec. XI, A. I.

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

Ex. 7. The Vowel [oo] and Mixed Glides for
Mutes. To obtain a pure oo the pitch must not be
high. Be careful that the mouth is properly
arranged from the first, so that there is no lin

glide.

|| oo | poo | oo oop | poo oop I poop I)

|| oo I too I oo oot I too oot I toot ||

|| oo J koo I oo ook I koo ook | kook ||

|| oo oo | poo poo | too too I koo koo ||

|| oo oo | oop oop | oot oot I ook ook ||

|| poo too koo I oo oo oo || poo koo too I oo oo oo ||

H koo too poo j koo poo too | too koo poo j too poo koo ||

|| poo too koo I poop toot kook | oop oot ook ||

|| poo too koo : too koo poo | koo poo too :

: poo too koo ||
|| poop toot kook | toot kook poop | kook poop toot |

| poop toot kook |J

|| poot took : koop poot | took koot : pook koop ||
|| pootook : koopoot | tookoot : pookoop | toopook:

: kootoop ||
|| poo too : poot oo | poot oo : poottoo ||

I poo koo : pook oo | pookoo : pookkoo ||
|| koo poo : koop oo | koopoo : kooppoo ||
|| too koo : took oo | tookoo : tookkoo ||

|| poot oo koop oo|pootoo koopoo | poottoo kooppoo ||

II poot koop : pook toop | koop took : koot pook ||

Ex. 8. Miscellaneous Vowels [ee, ai, aa, au

oa oo] and Mixed Glides for Mutes, at differed

-Sing each division between || and || to

rte, but change the note with each division

mng up and down a whole octave.

II pee tai kaa | pau toa koo || peep tait kaak|

| paup toat kook ||
U pee pai paa | pau

J aup oap oop ||
ee tai taa | tau toa too | eet ait aat | aut oat oot ||
kni kaa | kau koa koo | eek aik aak I
J auk oak ook |i

poa poo | eep aip aap

115
II pee tee kee | pai tai kai | paa taa kaa

| pau tau kau | poa toa koa | poo too koo ||
llpaiteek kaa | ee paitkaa | kaup oattoo |

| taakkaappaa |l

Ex. 9. The Vowels [ee, ai, aa, au, oa, oo] and
Mixed Glides for Sonants. This Exercise consist?
of Exercises 2 to 8, with sonants substituted for
mutes.

Ex. 90.

II ee | bee | ee eeb | bee eeb | beeb ||
f| ee | dee | ee eed | dee eed | deed ||
II ee | gee | ee eeg | gee eeg | geeg ||
|| ee ee | bee bee | dee dee | gee gee ||
|| ee ee | eeb eeb | eed eed | eeg eeg ||
H bee dee gee | ee ee ee || bee gee dee | ee ee ee ||
|| gee dee bee | gee bee dee | dee gee bee | dee bee gee ||
II bee dee gee | beeb deed geeg | eeb eed eeg ||
|| bee dee gee : dee gee bee | gee bee dee :

: bee dee gee ||
|| beeb deed geeg| deed geeg beeb | geeg beeb deed |

| beeb deed geeg ||
I beed deeg : geeb beed | deeg geed : beeg geeb ||

bee dee

| gee bee
dee gee

beeddee
beeggee
geebbee
deeggee

beed ee | beedee
beeg ee | beegee
geeb ee | geebee

deeg ee | deegee oe _

beed ee geeb ee| beedee geebee | beeddee geebbee
|| beed geeb : beeg deeb | geeb deeg : geed beeg ||

Ex. 9*.

ai | bai | ai aib | bai aib | baib ||
ai | dai | ai aid | dai aid | daid ||
ai | gai | ai aig | gai aig | gaig ||
| ai ai | bai bai | dai dai | gai gai i|
ai ai | aib aib | aid aid | aig aig ||
| bai dai gai | ai ai ai || bai gai dai | ai ai ai ||
|| gai dai bai | gai bai dai ! dai gai bai | dai bai gai |j

116

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

Sec X*, A. 1

|| bai dai gai | baib daid gaig j aib aid aig ||

|| bai dai gai : dai gai bai | gai bai dai : bai dai gai ||

l| baib daid gaig | daid gaig baib | gaig baib daid |

| baib daid gaig ||

J| baid daig- : gaib baid | daig gaid : baig gaib ||
|| baidaig : gaibaid | daigaid : baigaib | daibaig :

: gaidaib ||

|| bai dai : baid ai | baidai : baiddai ||
|| bai gai : baig ai | baigai : baiggai ||
|| gai bai : gaib ai | gaibai : gaibbai ||
|| dai gai : daig ai | daigai : daiggai ||
|| baid ai gaib ai | baidai gaibai | baiddai gaibbai ||
|| baid gaib : baig daib | gaib daib : gaid baig ||

Ex. 9c.

|| aa | baa | aa aab | baa aab | baab ||
|| aa | daa | aa aad | daa aad | daad ||
|| aa | gaa | aa aag | gaa aag | gaag ||
|| aa aa | baa baa | daa daa | gaa gaa ||
|| aa aa | aab aab | aad aad | aag aag ||
|| baa daa gaa | aa aa aa || baa gaa daa | aa aa aa [|
|| gaa daa baa | gaa baa daa | daa gaa baa |

| daa baa gaa ||

|| baa daa gaa | baab daad gaag | aab aad aag ||
(I baa daa gaa : daa gaa baa | gaa baa daa :

baa daa gaa ||
|| baab daad gaag | daad gaag baab | gaag baab daad |

| baab daad gaag ||

|| baad daag : gaab baad | daag gaad : baag gaab ||
|| baadaag : gaabaad | daagaad : baagaab [ daabaag :

; gaadaab ||

|| baa daa : baad aa | baadaa : baaddaa ||
|| baa gaa : baag aa | baagaa : baaggaa ||
|| gaa baa : gaab aa | gaabaa : gaabbaa ||
|| daa gaa : daag aa | daagaa : daaggaa ||
|| baad aa gaab aa | baadaa gaabaa |

| baaddaa gaabbaa ||
|| baad gaab : baag daab | gaab daag : gaad baag ||

Ex. 9d.

|| an | bau | au aub | bau aub | baub ||

|| au | dau | au aud | dau and | daud l|

|| au gau | au aug | gau aug | gaug ||

|| au au | bau bau | dau dau | gau gau ||

|| au au | aub aub | aud aud | aug aug ||

|| bau dau gau | au au au || bau gau dau | au au au !

|| gau dau ban | gau bau dau | dau gau bau |

| dau bau gau ||

|| bau dau gau | baub daud gaug | aub aud aug ||
|| bau dau gau : dau gau bau | gau bau dau

: bau dau gau ||
|| baub daud gaug | daud gaug baub | gaug baub daud

| baub daud gaug ||

|| baud daug : gaub baud | daug gaud : baug gaud
|| baudaug : gaubaud | daugaud : baugaub I daubaug

: gaudaub ||

|| bau dau : baud au | baudau : bauddau |[
|| bau gau : baug au | baugau : bauggau ||
|| gau bau : gaub au | gaubau : gaubbau |j
|| dau gau : daug au | daugau : dauggau ||
|| baud au gaub au | baudau gaubau |

I bauddau gaubbau ||
|| baud gaub : baug daub | gaub daug : gaud baug

Ex. 9*.

|| oa | boa | oa oab | boa oab | boab ||
|| oa | doa | oa oad | doa oad | doad ||
i| oa | goa | oa oag | goa oag | goag ||
|| oa oa | boa boa | doa doa | goa goa ||
|| oa oa | oab oab | oad oad | oag oag ||
|| boa doa goa | oa oa oa || boa goa doa | oa oa oa
|| goa doa boa | goa boa doa | doa goa boa

| doa boa goa ||

|| boa doa goa ] boab doad goag | oab oad oag ||
|| boa doa goa : doa goa boa { goa boa doa

: boa doa goa ||
|| boab doad goag | doad goag boab | goag boab doad

| boab doad goag ||

Sec. XI, A. I.

ENGLISH EXEECISES WITH ARTIFICIAL WORDS.

117

|| boad doag : goab boad \ doag goad : boag goab ||
|| boadoag : goaboad | doagoad : boagoab |

| doaboag : goadoab ||
| boa doa : boad oa j boadoa : boaddoa ||
|| boa goa : boag oa | boagoa : boaggoa ||
|| goa boa : goab oa | goaboa : goabboa ||
|| doa goa : doag oa | doagoa : doaggoa ||
|| boad oa goab oa | boadoa goaboa |

| boaddoa goabboa ||
') boad goab : boag doab | goab doag : goad baog ||

Ex. 9/.

|| oo | boo | oo oob | boo oob | boob ||

|| oo | doo I oo ood | doo ood | dood ||

|| oo | goo | oo oog | goo oog | goog ||

j| oo oo I boo boo | doo doo | goo goo ||

|| oo oo | oob oob | ood ood | oog oog ||

|| boo doo goo | oo oo oo || boo goo doo | oo oo oo ||

|| goo doo boo | goo boo doo | doo goo boo |

| doo boo goo ||

|| boo doo goo | boob dood goog | oob ood oog ||
|j boo doo goo : doo goo boo | goo boo doo :

: boo doo goo ||
|| boob dood goog | dood goog boob | goog boob dood|

| boob dood goog |j

|| bood doog : goob bood | doog good : boog goob ||
|| boodoog : -goobood j doogood : boogoob |

| dooboog : goodoob ||
| boo doo : bood oo | boodoo : booddoo ||
| boo goo : boog oo | boogoo : booggoo ||
| goo boo : goob oo | gooboo : goobboo ||
| doo goo : doog oo | doogoo : dooggoo ||
j| bood oo goob oo j boodoo gooboo | booddoo goobboo ||
ll bood goob : boog doob | goob doog : good boog ||

Ex. 10. Mixed Glides for Mutes and Sonants
ompared.

pee bee : tee dee | kee gee : pee bee ||
eep eeb : eet eed | eek eeg : eep eeb ||

|| peed teeb : beet deep | teeg keed : keeb peeg ||

|| peet deeb : beed teep | teek geed : keep beeg ||

|| pai bai : tai dai | kai gai : pai bai ||

|| aip aib : ait aid | aik aig : aip aib ||

|| paid taib : bait daip | taig kaid : kaib paig ||

|| pait daib : baid taip | taik gaid : kaip baig ||

|| paa baa : taa daa | kaa gaa : paa baa ||

|| aap aab : aat aad | aak aag : aap aab ft

|| paad taab : baat daap | taag kaad : kaab paag ||

|| paat daab : baad taap | taak gaad : kaap baag ||

|| pau bau : tau dau | kau gau : pau bau ||

|| aup aub : aut aud | auk aug : aup aub ||

|| paud taub : baut daup | taug kaud : kaub paug ||

|| paut daub : baud taup | tauk gaud : kaup baug ||

|| poa boa : toa doa | koa goa : poa boa ||

|| oap oab : oat oad | oak oag : cap oab ||

|| poad toab : boat doap | toag koad : koab poag ||

|| poat doab : boad toap | toak goad : koap boag ||

|| poo boo : too doo | koo goo : poo boo ||

|| oop oob : oot ood | ook oog : oop oob ||

|| pood toob : boot doop | toog kood : koob poog ||

|| poot doob : bood toop | took good : koop boog ||

Great care is required in speaking or singing such
combinations as peed teeb, peet deeb.

Ex. 11. On the Effect of both Pitch and Glide
on each Long Vowel. Sing each of the following
lines on each of the different notes of the descend-
ing scale, ending on the octave below the first.
Sing first at the rate of one word and then at the
rate of three words to a second. Vary the d to
embrace the extreme tones of the voice.
|| peep teet keek | beeb deed geeg || On d' to d..
|| paip tait kaik | baib daid gaig ||

|| paap taat kaak | baab daad gaag ||

|| paup taut kauk | baub daud gaug ||
|| poap toat koak | boab doad goag ||

|| poop toot kook | boob dood goog ||

118

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

Sec. XI, A. I

Ex. 12. On the Short Vowels, lengthened in
singing. Take Exercises 2 to 10 and in them
substitute i, e, a, o, u, uo, for ee, ai, aa, au, oa, oo
respectively.

Ex. 12.

|| i | pi | i ip | pi ip | pip ||
|| i | ti | i it | ti it | tit ||
|| i | ki | i ik | ki ik | kik |!
|| i i | pi pi | ti ti | ki ki ||
|| i i | ip ip | it it | ik ik ||
|| pi ti ki | i i i || pi ki ti I i i i ||
|| ki ti pi | ki pi ti | ti ki pi | ti pi ki ||
|| pi ti ki | pip tit kik | ip it ik ||
I) pi ti ki : ti ki pi | ki pi ti : pi ti ki ||
(I pip tit kik | tit kik pip | kik pip tit | pip tit kik ||
|| pit tik : kip pit | tik kit : pik kip ||
y pitik : kipit | tikit : pikip | tipik : kitip ||
|| pi ti : pit i | piti : pitti ||
|| pi ki : pik i | piki : pikki J|
|| ki pi : kip i | kipi : kippi ||
H ti ki : tik i | tiki : tikki ||
|| pit i kip i | piti kipi | pitti kippi ||
|| pit kip : pik tip | kip tik : kit pik ||

Ex. 12i.

|| e | pe | e ep | pe ep | pep ||
|| e | te | e et | te et | tet ||
|| e | ke | e ek | ke ek | kek ||
J e e | pe pe I te te | ke ke ||
H e e | ep ep | et et | ek ek ||
|| pe te ke | e e e || pe ke te | e e e ||
|| ke te pe | ke pe te | te ke pe | te pe ke ||
|| pe te ke | pep tet kek | ep et ek ||
l| pe te ke : te ke pe | ke pe te : pe te ke ||
l| pep tet kek | tet kek pep | kek pep tet |

| pep tet kek ||

| pet tek : kep pet | tek ket : pek kep |,
|| petek : kepet | teket : pekep | tepek : ketep ||

pe te : pet e | pete : pette II

|| pe ke : pek e | peke pekke ||

|| ke pe : kep e | kepe : keppe ||

|| te ke : tek e | teke : tekke |

j| pet e kep e | pete kepe | pette keppe fo

|| pet kep : pek tep | kep tek : ket pek |j

Ex. 12c.

|| a | pa | a ap | pa ap | pap ||
|| a j ta | a at | ta at | tat ||
|| a | ka | a ak | ka ak | kak ||
|| a a | pa pa | ta ta | ka ka ||
|| a a | ap ap | at at | ak ak ||
|| pa ta ka | a a a || pa ka ta | a a a ||
II ka ta pa | ka pa ta | ta ka pa | ta pa ka [|
|| pa ta ka | pap tat kak | ap at ak ||
|| pa ta ka : ta ka ka | ka pa ta : pa ta ka ||
|| pap tat kak | tat kak pap | kak pap tat |

pap tat kak ||

|| pat tak : kap pat | tak kat : pak kap ||
|| patak : kapat | takat : pakap | tapak : katap ||
|| pa ta : pat a | pata : patta ||
[| pa ka : pak a | paka : pakka l|
|| ka pa : kap a | kapa : kappa j|
|| ta ka : tak a | taka : takka ||
|| pat a kap a | pata kapa | patta kappa ||
|| pat kap : pak tap | kap tak : kat pak |f

Ex. 12rf.

|| o | po | o op | po op | pop ||
|| o | to J o ot j to ot j tot ||
|| o | ko | o ok | ko ok i kok ||
|| o o | po po | to to | ko ko ||
|| o o | op op | ot ot | ok ok ||
|| po to ko | o o o || po ko to | o o o |1
|| ko to po | ko po to | to ko po | to po ko j|
|| po to ko | pop tot kok | op ot ok ||
|| po to ko : to ko po | ko po to : po to ko ||
|| pop tot kok | tot kok pop | kok pop tot |

| pop tot kok ||
|| pot tok : kop pot | tok kot : pok kop ||

Sec. XI, A. I.

ENGLISH EXEECISES WITH ARTIFICIAL WORDS.

119

|| potok : kopot \ tokot : pokop | topok : kotop ||

I) po to : pot o | poto : potto :

|| po ko : pok o | poko : pokko ||

|| ko po : kop o | kopo : koppo ||

|| to ko : tok o | toko : tokko ||

|| pot o kop o | poto kopo | potto koppo ||

|| pot kop : pok tok | kop tok : kot pok ||

Ex. 12*.

u | pu | u up | pu up | pup ||
u I tu I u ut I tu ut I tut ||
u I ku I u uk I ku uk I kuk ||
u u | pu pu | tu tu | ku ku ||
u u | up up | ut ut | uk uk ||
pu tu ku | u u u || pu ku tu | u u u ||
ku tu pu | ku pu tu | tu ku pu | tu pu ku ||
pu tu ku j pup tut kuk | up ut uk ||
|| pu tu ku : tu ku pu | ku pu tu | pu tu ku ||
|| pup tut kuk | tut kuk pup | kuk pup tut |

| pup tut kuk ||

put tuk : kup put | tuk kut : puk kup ||
putuk : kuput | tukut : pukup | tupuk : kutup ||
pu tu : put u | putu puttu ||
pu ku : puk u | puku pukku |'
ku pu : kup u | kupu kuppu ||
tu ku : tuk u | tuku : tukku ||
put u kup u | putu kupu | puttu kuppu ||
|| put kup : puk tup | kup tuk : kut puk ||

Ex. 12/.

|| uo i puo I uo uop I puo uop I puop ||
|| uo I tuo I uo uot I tuo uot I tuot ||
|| uo I kuo I uo uok I kuo uok | kuok ||
|| uo uo | puo puo I tuo tuo I kuo kuo ||
II uo uo | uop uop I uot uot I uok uok |j
|| puo tuo kuo | uo uo uo || puo kuo tuo | uo uo uo ||
|| kuo tuo puo | kuo puo tuo | tuo kuo puo |
1 tuo puo kuo ||

|| puo tuo kuo | puop tuot kuok | uop uot uok ||
|| puo tuo kuo : tuo kuo puo | kuo puo tuo :

: puo tuo kuo ||
|| puop tuot kuok | tuot kuok puop | kuop puop tuot |

| puop tuot kuok ||

|| puot tuok : kuop puot | tuok kuot : puok kuop ||
|| puotuok : kuopuot | tuokuot ; puokuop |

| tuopuok : kuotuop ||
|| puo tuo : puot uo | puotuo : puottuo ||
|| puo kuo : puok uo | puokuo puokkuo ||
|| kuo puo : kuop uo | kuopuo : kuoppuo ||
|| tuo kuo : tuok uo | tuokuo : tuokkuo ||
|| puot uo kuop uo | puotuo kuopuo |

| puottuo kuoppuo ||
|| puot kuop : puok tuop | kuop tuok : kuot puok ||

Ex. I2ff.

|| pi te ka | po tu kuo |J pip tet kak | pop tut kuok ||
|| pi pe pa | po pu puo | ip ep ap | op up uop ||
|j ti te ta | to tu tuo | it et at | ot ut uot ||
[| ki ke ka | ko ku kuo | ik ek ak | ok uk uok ||
|| pi ti ki | pe te ke | pa ta ka | pu tu ku |

| puo tuo kuo ||
U petik ka | e petka | kop utuo | takkappa ||

Ex. 12A.

|| i | bi | i ib | bi ib | bib ||
|| i | di | i id | di id | did ||

II i I gi I i ig I gi ig I &S II

|| i i | bi bi | di di | gi gi l|

|| i i | ib ib | id id | ig ig ||

|| bi di gi | i i i || bi gi di | i i i ||

|| gi di bi | gi bi di | di gi bi | di bi gi ||

|| bi di gi | bib did gig | ib id ig ||

|| bi di gi : di gi bi | gi bi di : bi di gi ||

|| bib did gig | did gig bib | gig bib did |

| bib did gig ||

|| bid dig : gib bid | dig gid : big gib ||
|j bidig : gibid | digid : bigib | dibig : gidib |j

120

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

Sec. XI, A. I

|| bi di : bid i | bidi : biddi ||

|| bi gi : big i | bigi : biggi ||

|| gi bi : gib i | gibi : gibbi ||

(I di gi dig i | digi : diggi ||

|| bid i gib i | bidi gibi | biddi gibbi ||

|| bid gib : big dib | gib dig : gid big ||

Ex. 12*.

|| e | be | e eb | be eb | beb ||

|i e | de | e ed | de ed | ded ||

|| e | ge | e eg | ge eg | geg ||

|| e e | be be i de de i ge ge ||

|| e e | eb eb | ed ed | eg eg ||

|| ge de ge | e e e || be ge de | e e e ||

|| ge de be | ge be de | de ge be | de be ge ||

|| be de ge | beb ded geg j eb ed eg ||

|| be de ge : de ge be | ge be de : be de ge |)

|| feeb ded geg | ded geg beb | geg beb ded

| beb ded geg ||

|| bed deg : keb bed | deg ged : beg geb ||
|| bedeg : gebed | deged : begeb | debeg : gedeb |j
|| be de : bed e | bede : bedde ||
|| be ge : beg e | bege begge ||
|| ge be : geb e | gebe : gebbe ||
|| de ge : deg e | dege : degge ||
|| bed e geb e | bede gebe | bedde gebbe ||
|| bed geb : beg deb | geb deb : ged beg ||

Ex. 12;.

|| a | ba | a ab | ba ab | bab ||
a | da | a ad | da ad | dad ||
a | ga | a ag | ga ag | gag ||
a a | ba ba | da da | ga ga ||
a a | ab ab | ad ad | ag ag ||
ba da ga | a a a || ba ga da | a a a ||
ga da ba | ga ba da | da ga ba | da ba ga ||
ba da ga | bab dad gag | ab ad ag ||
ba da ga : da ga ba | ga ba da : ba da ga ||

|| bab dad gag | dad gag bab | gag bab dad

| bab dad gag|

|| bad dag : gab bad | dag gad : bag gab ||
|| badag : gabad | dagad : bagab | dabag : gadab |]
|| ba da : bad a | bada : badda ||
(I ba ga : bag a | baga : bagga ||
|| ga ba : gab a | gaba : gabba j|
|| da ga : dag a | daga : dagga ||
|| bad a gab a | bada gaba | badda gabba ||
|| bad gab : bag dab | gab dag : gad bag ||

Ex. 12k.

|| o | bo | o ob | bo ob | bob ||

|| o | do | o od | do od | dod ||

|| o | go | o og | go og | gog ||
o o | bo bo | do do | go go ||
o o | ob ob | od od | og og ||
bo do go | o o o || bo go do | o o o ||
go do bo | go bo do | do go bo | do bo go j|
bo do go | bob dod gog | ob od og [|
bo do go : do go bo | go bo do : bo do go ||
bob dod gog | dod gog bob | gog bob dod
| bob dod gog ||

|| bod dog : gob bod | dog. god : bog gob |j

|| bodog : gobod | dogod : bogob | dobog : godob

|| bo do : bod o | bodo : boddo ||

|| bo go : bog o | bogo : boggo ||

|| go bo : gob o | gobo : gobbo ||

|| do go : dog o | dogo : doggo ||

|| bod o gob o | bodo gobo | boddo gobbo ||

|| bod gob : bog dob | gob dog : god bog ||

Ex. 12^.

|| u | bu | u ub | bu ub | bub ||
|| u | du | u ud | du nd | dud ||
|| u gu | u ug | gu ug | gug ||
|| u u | bu bu | du du | gu gu ||
|| u u | ub ub | ud ud | ug ug ||
|| bu du gu | u u u || bu gu du | u u u ||
|| gu du bu | gu bu du | du gu bu | du bu gu U

XT, A. I.

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

121

|| bu du gu | bub dud gug | ub ud ug ||

|| bu du gu : du gu bu | gu bu du : bu du gu ||

j| bub dud gug | dud gug bub | gug bub dud I

| bub dud gug ||

|| bud dug : gub bud | dug gud : bug gub ||
|| budug : gubud | dugud : bugub j dubug : gudub ||
|| bu du : bud u | budu : buddu ||
|| bu gu : bug u | bugu : buggu ||
|| gu bu : gub u | gubu : gubbu ||
i| du gu : dug u | dugu : duggu ||
l| bud u gub u | budu gubu | buddu gubbu ||
|| bud gub : bug dub | gub dug : gud bug ||

Ex. 12m.

|| uo | buo | uo uob | buo uob | buob ||
j| uo I duo | uo uod | duo uod | duod ||
|| uo I guo I uo uog I guo uog I guog ||
|| uo uo I buo buo | duo duo | guo guo ||
|| uo uo | uob uob | uod uod | uog uog ||
j| buo duo guo | uo uo uo || buo guo duo I uo uo uo ||
|| guo duo buo | guo buo duo | duo guo buo |

I duo buo guo ||

|| buo duo guo | buob duod guog | uob uod uog ||
)| buo duo guo : duo guo buo | guo buo duo :

: buo duo guo ||
|| buob duod guog | duod guog buob | guog buob duod |

| buob duod guog ||

|| buod duog : guob buod | duog guod : buog guob ||
U buoduog : guobuod | duoguod : buoguob |

| duobuog : guoduob ||
|| buo duo : buod uo | buoduo : buodduo ||
|| buo guo : buog uo | buoguo : buogguo ||
|| guo buo : guob uo | guobuo : guobbuo ||
|| duo guo : duog uo | duoguo : duogguo ||
|| bnod uo guob uo | buoduo guobuo |

j buodduo guobbuo ||
|| buod guob : buog duob | guob duog : guod buog l|

Ex. 12.

|| pi bi : ti di | ki gi : pi bi H
|| ip ib : it id | ik ig : ip ib'||
|| pid tib : bit dip | tig kid : kib pig ||
|| pit dib : bid tip | tik gid : kip big |j
|| pe be : te de | ke ge : pe be ||
|| ep eb : et ed | ek eg : ep eb ||
|| ped teb : bet dep | teg ked : keb peg |j
|| pet deb : bed tep | tek ged : kep beg ||
|| pa ba : ta da | ka ga : pa ba ||
|| ap ab : at ad | ak ag : ap ab ||
|| pad tab : bat dap | tag kad : kab pag ||
|| pat dab : dad tap | tak gad : kap bag ||
|| po bo : to do | ko go : po bo ||
|| op ob : ot od | ok og : op ob ||
|| pod tob : bot dop I tog kod : kob pog ||
|| pot dob : bod top | tok god : kop bog ||
H pu bu : tu du j ku gu : pu bu ||
|| up ub : ut ud | uk ug : up ub ||
|| pud tub : but dup | tug kud : kub pug ||
|| put dub : bud tup | tuk gud : kup bug ||
|| puo buo : tuo duo | kuo guo : puo buo ||
|| uop uob : uot uod | uok uog : uop uob ||
|| puod tuob : buot duop | tuog kuod : kuob puog ||
|| puot duob : buod tuop | tuok guod : kuop buog ||

Ex. 13. On the Hisses. Care has to be taken
to make the Hisses short and distinct, and the
Glides tight. The following are mere specimens
of what can be formed from the Chart.
|| fee fai faa | f au foa f oo | eef aif aaf | auf oaf oof |J
|| f i fe fa | fo fu fuo | if ef af | of uf uof ||
|| thee thai thaa | thau thoa thoo | eeth aith aath |

| auth oath ooth ||

|| see sai saa | sau soa soo | ees ais aas | aus oas oos l|
|| si se sa | so su suo | is es as | os us uos ||
|| shee shai shaa | shau shoa shoo | eesh aish aash |

| aush oash oosh ||

|| whee whai whaa | whau whoa whoo I
whi whe wha who whu whuo ||

122

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

Sec. XI, A. I.

|| peep whif | tait sea \ kaak shash | paup whof |

| toat sus | kook shuof ||
il wheefai pauth | whaif i poth | whot eep aatli |

| paisee shaa ||
|| shees seesh sis | thauf thoath sooth |

| faash saash shaas ||

Ex. 14. On the Buzzes as contrasted with
Hisses, Mutes, and Sonants. Care must be taken
to make the Buzzes distinct, not to begin with
flatus, as szee, and especially not to end with flatus,
as eezs. Great difficulty will be felt in this respect
when Buzzes follow Hisses, as in iz shee, or when
Hisses precede Buzzes, as ees zee. When any
Buzzes end one group and begin the next, as in
zuz zhuozh, rapid utterance becomes even more
difficult than for Hisses as sus shuosh, or Sonants as
bub guoff, or Mutes as pup kuok. Hence the neces-
sity for constant repetition. The Exercise which
follows, long as it may appear, gives no more than
a hint of what is required.
|| wee wai waa | vee vai vaa || wau woa woo |

| vau voa voo ||
|| whee wee : fee vee | whai wai : fai vai |

| whau wau : fau vau ||

|| see sai saa : sau soa soo | zee zai zaa : zau zoa zoo ||

I) see zee zee see : zai sai sai zai | see zau zee sau :

: soa soa zoa zoa | zoo see zee soo :

: zaa zaa saa zaa ||

|| is zi dhoa : dhi?: is aaz | whee fee thee :

: wai vai dhai ||

|| iz ez az : oz uz uoz | izh ezh azh : ozh uzh uozh ||
|| ith ef adh ov : idh ev ath of | ith idh if iv :

: ish is izh iz ||

|| thith theth thath | thauth thoath thooth |
I dhidh dhedh dhadh | dhaudh dhoadh dhoodh ||
|| thith dheedh : theth dhaidh | thath dhaadh :
: thauth dhaudh | thoath dhoadh : thooth dhoodh ||
sheesh zhizh : shaish zhezh | shaash zhazh :
: shaush zhozh | shoash zhuzh : shoosh zhuozh ||

whithi whothi | vifi vofi :

|| wishi woshi
fidhi fodhi ||

|| dhizi dhoa ... : thasi thau ... | sathi safi :
zadhi zavi ||

|| dhaazhai thaishaa : shaizhaa dhaazai ||

|| shithi shiththi : zidhi zidhdhi | sozaa sozzaa :
: shozhaa shozhzhaa | fa voa f avvoa : vaf oa vaffoa ||

|| pee bee whee wee fee vee | pai bai whai wai fai vai [
paa baa whaa waa faa vaa | pau bau whau
wau fau vau | poa boa whoa woa foa voa |
| poo boo whoo woo foo voo ||

|| tee see thee : dee zee dhee | tai sai thai : dai zai dhai |
| taa saa thaa : daa zaa dhaa | tau sau thau :
: dau zau dhau [ toa soa thoa : doa zoa dhoa I
| too soo thoo : doo zoo dhoo ||

|| kee gee shee zhee : kai gai shai zhai '
| kaa gaa shaa zhaa : kau gau shau zhau |
| koa goa shoa zhoa : koo goo shoo zhoo ||

|| pip bib fif viv | pep beb f ef vev | pap bab faf vav |
pop bob fof vov | pup bub fuf vuv |
j puop buob fuof vuov |j

|| tit sis thith : did ziz dhidh | tet ses theth :
: ded zez dhedh | tat sas thath : dad zaz dhadh |
| tot sos thoth : dod zoz dhodh | tut sus thuth :
: dud zuz dhudh | tuot suos thuoth :
: duod zuoz dhuodh ||

|| kik gig shish zhizh : kek geg shesh zhezh |
| kak gag shash zhazh : kok gog shosh zhozh |
| kuk gug shush zhuzh: kuok guog shuo shzhuozh||

Endless examples of this kind can be constructed
from the first three lines of the Chart, by taking
the same vowel throughout the lines, omitting first
final and then initial consonant, and transposing
the order. The object is to contrast Glides, Hisses,
Buzzes, Mutes, and Sonants, and to bring any
one next to any other, that all may be taken
easily at all pitches, and that no more flatus, hiss or
buzz, be allowed to escape than is necessary for
understanding the differences of the sounds.

Sec XI, A. I.

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

123

Ex. 15. On the Diphthongs [ei, oi, on euj.
The object is to see that these diphthongs are
pronounced and sung correctly. Take care that,
in speaking, ei never becomes broader than aay, and
try to keep it to a'y or uy, with the first element
very short, and the glide distinct and tight, and
the last element prolonged if necessary. But in
singing, the first element must be lengthened and
the dipiithongal effect shewn by the tight glide at
the end, the last element being i and always short.
The singer may use ah, aa, or a' for his first
element, and even vary them during singing, as may
be convenient for the pitch. The last element may
also be i or ee, as may be convenient for the pitch.

The diphthong ou in speaking should never be
broader than aaw : endeavour to keep it to a'w or uw.
The first element should be short, glide tight, and the
last element uo, and long if required. In singing,
use ah, aa, a 1 for first and uo or oo for last element,
as convenience of pitch may require. But never
use oa, ao, au, or even uu, and still less ai, e, ae, a, for
the first element. The first element is to be treated
as that oi ei.

The diphthong oi may always be sung as auy.
The first element is often inordinately lengthened
in music. But care must be taken to make the
glide tight at the end, so as to avoid any appear-
ance of two syllables ; that is, sing rijau-is (rejoice)
with the au as long as you please, but not rifau'-is
without the glide, which will assuredly be said if
breath is taken j ust at is.

The diphthong eu has to be spoken and sung as
a real diphthong wo or luo after consonants, and is
better so sung at the beginning of words, but it is
then spoken as yoo, yuo, and sometimes ywo, yiuo.

Attend to all these points.

Sing the three first lines of the Chart with ei, oi,
ou, eu, in place of the vowels written, and practise
very slow and very fast. Thus

|| pei | p | tei | t | kei | t || &c.
sung as | paa | ip | or | pa' | ip | &c., or with
pitch rising from very low to high | pah : aa |
ja, : Tp | &c., and similarly for the rest.
Then sing very quickly as |pei tei kei : bei del gei|

&c., | eip eit eik : eib eid eig | , and lastly try
i peip teit keik : beib deid geig | and so on. Thus

|| pei | p | tei | t | kei | t | bei | b |

| deid I d|gei|-g||
|| whei | f | sei | s | shei | sh | wei | v I

|zei | z | zhei | zh ||

II f ei j f | thei | th | vei | v | dhei | dh ||
|| pei tei kei : bei dei gei | whei sei shei :

: wei zei zhei | fei fei thei : vei vei dhei ||
|| eip eit eik : eib eid eig | eif eis eish :.eiv eiz eizhj

| eif eith eith : eiv eidh eidh ||
|j peip teit keik : beib deid geig | wheif seis sheish :

: weiv zeiz zheizh | feif theith theith :

: veiv dheidh dheidh ||
|| poi | p | toi | t | koi | _ t | boi | b |

| doi | d | goi | g ||
|| whoi | f | soi | s | shoi | sh | woi | V|

| zoi | z | zhoi | zh (i

|| f oi | f | thoi | th | voi | v | dhoi | dh |]
|| poi toi koi: boi doi goi | whoi soi shoi: woi zoi zhoi|

| f oi f oi thoi : voi voi dhoi ||
|| oip oit oik : oib oid oig j oif ois oish : oiv oiz oizh|

| oif oith oith : oiv oidh oidh J
|| poip toit koik : boib doid goig | whoif sois shoish :

: woiv zoiz zhoizh | foif thoith thoith :

: voiv dhoidh dhoidh ||
|| pou | p | tou | t | kou | t | bou | b 1

| dou | d | gou | g ||
|| whou | f | sou | s | shou | sh j wou | v |

I zou | z | zhou | zh ||

|| f ou | f | thou | th | vou { v | dhou | dh ||
|| pou tou kou : bou dou gou | whou sou shou :

: wou zou zhou I fou fou thou : vou vou dhou ||
|| oup out ouk : oub oud oug | ouf ous oush :

: ouv ouz ouzh | ouf outh outh : ouv oudh oudh ||
|| poup tout kouk : boub doud goug | whouf soua

shoush : wouv zouz zhouzh | fouf thouth thouth

: vouv dhoudh dhoudh ||

124

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

Sec. XI, A. L

|| peu | p | teu | t | keu | t | beu | b |

| deu | d | geu ] g |j
|| wheu | f | seu | s | sheu | ah \ wen \ v |

| zeu | z | zheu | zh ||

H feu | f | theu | th | veu | v | dheu dh ||
|| peu teu keu : beu deu geu | wheu seu sheu :

: weu zeu zheu ] feu feu theu : veu veu dheu ||
|| eup eut euk : eub eud eug | euf eus eush :

: euv euz euzh | euf euth euth : euv eudh eudh ||
|| peup teut keuk : beub deud geug | wheuf seus

sheush : weuv zeuz zheuzh | feuf theuth theuth :

: veuv dheudh dheudh ||

Ex. 16. On the Aspirate. Use the jerked clear
attack only in singing ; in speaking either the
jerked clear or jerked gradual attack may be used.

Speak and sing the first three lines of the Chart
(except the last word) with the aspirate substituted
for the initial consonant, and first with the final con-
sonant omitted, and secondly with it added. The
rate may be always rapid, as the effect of the jerk
is almost instantaneous. Thus
|| hee hai haa : hau hoa hoo | hi he ha : ho hu huo |

| hei hoi hou : hei hoi hou ||
|| heep hait haak : haub hoad hood | hif hes hash :

: huv huz huozh | heif hoith houth :

: heiv hoidh houdh ||

The aspirate before eu is easy when eu is taken
as wo, thus Kioo ; but if eu is taken as yoo, ywo,
then the aspiration generates the hiss yh. And
this yheu, meaning yhoo or yJiioo, must be practised
with all the consonants following, as
|| yheup yheut yheuk | yheub yheud yheug I

[yheuf yheus yheush | yheuv yheuz yheuzh ||

Ex. 17. On the Vanishes [ai-y, oa-w]. The
object is to contrast these with the pure vowels
ai, oa. In taking the pure vowels ai, oa, there
should be no tendency to end with * or uo, and in
taking the vanishes ai-y, oa'w, there should be no
tendency to fall into diphthongs like ei, ou, either
in speaking or singing. This exercise is intended
to guard the singer against taking the vanishes.

They should never be used in singing actual words.
The singer may take e, ao for ai, oa, not only for
convenience of pitch but as a safeguard against
the vanishes. Take the three first lines of the
Chart, and substitute alternately ai, ai-y, and then
alternately oa-, oa-w for the vowels, first omitting
and then retaining the final or initial consonants,
and then taking both, as

|| par pai-y | tar tary I kar kary | bar bary |
| dai- dai-y | gar gai-y | whar whary | shar shary |
| war wary | zai zai'y | zhar zhary | far fary j
| thai' thai-y | var vary | dhar dhary ||
|| ai g p ai-yp | art aryt | ark aryk | arb ai'yb |
|ai'd ai-yd | ai'g ai-yg | ai'f ai-yf | ar& ai-ys |
(ai'sh ai-yshjai'v ai'yv (ai'z ai'yz | ai'zh aryzh |
| ai-th ai-yth | ai'dh arydh.

|| pai'p paryp | tart taryt | kai'k kai'yk |
| barb bai'yb | dai'd daryd | gai-g gai'yg |
j wharf whai-yf | sai-s sai'ys | shai'sh shai-ysh |
| whai'v whaiyv | zai'z zai'yz | zhai'zh zhai'yzh j
|fai'f faryf | thai'th thai'yth | varv vai-yv |
|dhardhdhai-ydh||

|| poa' poa'w | toa- toa'w | koa' koa'w | boa 4 boa*w |
|doa- doa*w | goa' goa'w | whoa' whoa'w |
|shoa' shoa'w | woa - woa*w | zoa- zoa*w |
|zhoa - zhoa'w | foa* foa-w | thoa* thoa'w |
|voa' voa'w | dhoa* dhoa'w ||
|| oa - p oa'wp | oa't oa-wt | oa-koa'wk [ oa - b oa*wb |
|oa'd oa-wd | oa'g oa*wg | oa-f oa-wf j oa's oa-ws I
|oa*sh oa'wsh | oa'v oa-wv | oa-z oa'wz |
|oa-zh oa-wzh | oa'th oa-wth | oa'dh oa-wdh ||
|| poa-p poa-wp | toa-t toa'wt ! koa'k koa'wk |
|boa - b boa-wb | doa'd doa'wd | goa'g goa'wg |
| whoa'f whoa- wf | soa's soa - ws | shoa sh shoa-wsh |
| whoa' v whoa' wv | zoa*zzoa'wz | zhoa'zhzhoa-wzh j
jfoa'f foa-wf | thoa'th thoa'wth \ voa-v voa'wv |
| dhoa-dh dhoa-wdh ||

Conclude by singing over the first four lines of the
Chart many times to various airs.

Sec. XI. A. I.

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

125

Ex. 18. On the Compound Hisses and Buzzes

j- c h, j. ]_ These are generally pronounced easily.
The only difficulties arise from rapidity, and the
necessity of shortening the final hiss or buzz in
singing. In the first three lines of the Chart use
first ch and then.;' in place of the initial, and then
in place of the final consonant, first omitting and
then inserting the other consonant. Thus

|| chee chai chaa : chau choa choo } chi che cha :

: cho chu chuo | chei choi chou : cheu cheu cheu ||

|| eech aich aach : auch oach ooch | ich ech ach :

och uch uoch | eich oich ouch : euch euch euch ||

|| cheep chait chaak : chaub choad choog |

(chif ches chash : chov chuz chuozh | cheif

choith chouv : cheudh cheudh cheudh ||
|| peech taich kaach : bauch doach gooch |

| which sech shach : woch zuch zhuoch |

| f eich thoich vouch : dheuch dheuch dheuch ||
|| jee jai jaa : jau joa joo | ji je ja : jo ju juo |

| jei joi jou : jeu jeu jeu ||
|| eej aij aaj : auj oaj ooj | ij ej aj : oj uj uoj |

|eij oij ouj : euj euj euj ||
|| jeep jait jaak : jaub joad joog | jif jes jash :

: jov juz juozh | jeif joith jouv : jeudh jeudh

jeudh ||
|| peej taij kaaj : bauj doaj gooj | whij sej shaj :

: woj zuj 'zhuoj | feij thoij vouj : dheuj dheuj

dheuj ||

Sing over the first five lines of the Chart to various
airs.

Ex. 19. On the Vocals [1, m, n, ng.] As ng
is only used final, and only after short vowels (in
English and German), it may be taken separately
and first. Take care that no g or k creeps in after
ng, and that the nasal sound itself is never pro-
longed.

|| ing eng ang : ong ung uong || ping peng pang :
: pong pung puong | bing beng bang :

bong bung buong || ting teng tang
tong tung tuong | ding deng dang
dong dung duong || king keng kang
kong kung kuong | ging geng gang
gong gung guong || fing feng fang
fong fung fuong | ving veng vang
vong vung vuong || sing seng sang
song sung suong | zing zeng zang
zong zung zuong |] shing sheng shang
shong shung shuong | zhing zheng zhang
zhong zhung zhuong || thing theng thang
thong thunf thuong | dhing dheng dhang
dhong dhung dhuong || ping j tang | kong | sung ||

The same Exercise may then be taken with
I, m or n in place of ng ; and then with the substi-
tution of ee, ai, aa, au, oa, oo, for i, e, a, o, u, uo ;
and then with the substitution of I, m or n for the
initial consonants. This gives the following series
of Exercises :

|| il el al : ol ul uol || pil pel pal : pol pul puol [
| bil bel bal : bol bul buol || til tel tal : tol tul tuol |
|dil del dal : dol dul duol || kil kel kal :
: kol kul kuol | gil gel gal : gol gul guol ||
||fil fel fal : fol ful fuol | vil vel val :
: vol vul vuol || sil sel sal : sol sul suol |
| zil zel zal : zol zul zuol || shil shel shal :
: shol shul shuol | zhil zhel zhal : zhol zhul zhuol ||
|| thil thel thai : thol thul thuol | dhil dhel dhal :
: dhol dhul dhuol || pil | tal | kol | sul ||

|| eel ail aal : aul oal ool || peel pail paal :
: paul poal pool j beel bail baal : haul boal bool ||,
|| teel tail taal : taul toal tool | deel dail daal :
: daul doal dool || keel kail kaal : kaul koal kool |
| geel gail gaal : gaul goal gool || feel fail faal :
: faul foal fool | veel vail vaal : vaul voal vool ||
|| seel sail saal : saul soal sool | zeel zail zaal r
:zaul zoal zool j| sheel shail shaal : shaul shoal shool |
| zheel zhail zhaal : zhaul zhoal zhool $

126

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

Sec. XI, A. I.

|| theel thail thaal : thaul

thoal thool |

| dheel dhail dhaal : dhaul

dhoal dhool ||

|| peel | taal | kaul | soal ||

|J im em am : om um uom |

pirn pern pam :

: pom pum puom | bim bem bam :

bombumbuom||

|| tim tern tarn : torn turn tuom

| dim dem dam :

: dom dum duom|| kim kem kam:

kom kum kuom |

| gim gem gam : gom gum guom || fim fem fam :

: f om f um f uom | vim vem vam :

vom vum vuom ||

|| sim sem sam : som sum suom

| zim zem zam :

: zom zum zuom |] shim shem sham : shorn shum

shuom | zhim zhem zham : zhotn zhum zhuom ||

|| thim them tham : thorn

thum thuom |

|| dhim dhem dham : dhom

dhum dhuom ||

|| pirn | tarn | kom | sum ||

11 eem aim aam : aum oam oom || p

eem paim paam

. paum poam poom | beem

bairn baam

baum boam boom || teem

taim taam

taum toani toom | deem

daim daam

daum doam doom || keem

kaim kaam

kaum koam koom | geem

gaim gaam

gaum goam goom || feem

faim faam

faum foam foom | veem

vaim vaam

vauin voam voom || seem

saim saam

saum soam soom | zeem

xjiini zaam

zaum zoam zoom || sheem

shaim shaam

shaum shoam shoom | zheem zhaim zhaam

zhaum zhoam zhoom || theem

thaim thaam

thaum thoam thoom | dheem

dhaim dhaam

dhaum dhoam dhoom || peem

| taam | kaum |

(j in en an : on un uon || pin pen pan : pon pun puon j
j bin ben ban : bon bun buon || tin ten tan :
: ton tun tuon | din den dan : don dun duon ||
|| kin ken kan : kon kun kuon | gin gen gan :
: gon gun guon || fin fen fan : fon fun fuon |
} vin ven van : von vun vuon l| sin sen sail :

: son sun suon | zin zen zan : z.on zun zuon ||
|| shin shen shan : shon shun shuon |
| zhin zhen zhan : zhon zhun zhuoo ||
|| thin then than : thon thun thuon |
| dhin dhen dhan : dhon dhun dhuon ||
|| pin | tan | kon | sun ||
|| een ain aan : aun oan oon || peen pain paan :
: paun poan poon | been bain baan :
: baun boan boon || teen tain taan : taun toan toon
| deen dain daan : daun doan doon
|| keen kain kaan : kaun koan koon
| geen gain gaan : gaun goan goon
|| f een fain f aan : faun f oan f oon | veen vain vaan
: vaun voan voon || seen sain saan : saun soan
soon | zeen zain zaan : zaun zoan zoon
|| sheen shain shaan : shaun shoan shoon
| zheen zhain zhaan : zhaun zhoan zhoon
|| theen thain thaan : thaun thoan thoon
| dheen dhain dhaan : dhaun dhoan dhoon
|| peen | taan | kaun | soan ||

|| lil lei lal : lol lul luol || leel lail laal : laul loal lool||
|| mil mel mal : mol mul muol || meel mail maal :
: maul moal mool || nil nel nal : nol nul nuol j|
|| neel nail naal : naul noal nool || lin len laa :
: Ion lun luon || leen lain laan : laun loan loon j|
|| min men man : mon mun muon ||
|| meen main maan : maun moan moon ||
|| nin nen nan : non nun nuon || neen nain naan :
: naun noan noon ||
|| ling leng lang : long lung luong ||
|| ming meng mang : mong mung muong ||
|| ning neng nang : nong nung nuong ||

Sing the first six lines of the Chart many times
over to various airs.

Ex. 20. On the Irill [r'] and Vocal [r]. The
trilled r 1 at the beginning of words is easy to most
speakers. It must be kept very light. The tip of
the tongue must not move far up and down. The

Sec. XI, A. I.

ENGLISH EXERCISES WITH ARTIFICIAL WORDS.

127

vibrations must not be very fast, and must not
last a long time. The effect is to be a ripple rather
than a beat. The trilled r' at the end of words or
before consonants is almost an impossibility to
many speakers in the South of England, especially
when following a short vowel. It need not be
practised after a short vowel, when no other vowel
follows, for English, but it is absolutely necessary
to do so for German, Italian, and French. The
final trill after a vocal r is always allowable. It
must be practised, and then the singer can after-
wards take it or not at pleasure. First as an initial,
take the three first lines of the Chart with initial
r', and first without and then with the consonant,
thus
|| r'ee r'ai r'aa : r'au r'oa r'oo | r'i r'e r'a :

: r'o r'u r'uo | r'ei r'oi : r'ou r'eu ||
(| r'eep r'ait r'aak : r'aub r'oad r'ood | r'if r'es r'ash:

: r'ov r'uz r'uozh | r'eif r'oith : r'ouv r'eudh ||

Then sing the last line of the Chart carefully, first
singing ecr, air, oar, oor as i'u, e'u, ao'ii, uo'u with-
out the trilled r', and then adding r' first before
only, then after only, and then before and after :

|| eer air | oar oor || r'eer r'air | r'oar r'oor ||
|| eerr' airr' | oarr' oorr' ||
y r'eerr' r'airr' | r'oarr' r'oorr' ||
Then increase .the rapidity.

Finally sing over the whole Chart many times
to various airs and at very different rates.

Ex. 21. On Initial Combinations of Consonants.
From the Table of Initial Combinations select
any seven, one for each line of the Chart, and
substitute one for the initial consonant in that
line, and thus sing the whole Chart. Thus taking
the first seven, bl-, br'-, bw-, dr'-, dw-,fl,fr, sing
to '' God save the Queen" or any air. The initial
combinations to be used should be written on a
blackboard.

bleep blait blaak blaub bload bloog
br'if br'es br'ash br'ov br'uz br'uozh

bweif bwoith bwouv bweudh
dr'ei dr'oi dr'ou dr'eu dr'ai'y dr'oa'w
dweech dwaich dwaach dwauj dwoaj dwooj
fling fleng flang flul flom fluon

fr'eerr' fr'airr' fr'oarr' fr'oorr'

Then begin each line with the second of these
initial combinations, and end with the last com-
bination, making the new order, br'-, bw-, dr\ dw,
fl-,fr'-, bl-, thus br'eep br'ait, &c., bivifbwait, &c.,
dr'eifdr'oith, &c., dwei dwoi, &c., fleech Jlaich, &c.,
fr'ingfr'eng, &c., bleerr' blairr', &c.

Then begin with the third and end with the
second, and so on, making seven different modes of
singing.

Then take another set of seven initial combina-
tions in the same way, till all are exhausted. This
Exercise may, of course, be materially abridged if
no difficulty is felt. Some of the combinations,
however, create difficulties, as when w, I or r'
precedes eu, as in bweudh, bleudh, br'eudh. In
received pronunciation no such combinations occur.
Hence they need not be dwelled on.

Ex. 22. On Final Combinations of Consonants.
From the Table of Final Combinations, select
any seven, and use them in place of the final con-
sonants of the Chart. Thus selecting the first
seven, -bd, -bz, -cht, -dth, -dths, -dz, -dhd, and
writing them on the blackboard, sing
peebd taibd kaabd baubd doabd goobd
whibz sebz shabz wobz zubz zhuobz

feicht thoicht voucht dheucht
heidth hoidth houdth yheudth harydth hoa'wdth
cheedths chaidths chaadths jaudths joadths joodths
lidz medz nadz ludz modz nuodz

r'eedhd r'aidhd r'oadhd r'oodhd
Then take another set of seven in the same way,
till the list is exhausted. Where difficulties are
felt, repeat the combination frequently.

128

ENGLISH: EXERCISES WITH ACTUAL WORDS.

XI, A. II.

Ex. 23. On both Initial and Final Combina-
tions of Consonants at once. Select any seven
compound initials and any seven compound finals,
and write them on the blackboard thus
ql Ib, Jew If, skr j md, sp nd, thr' nj,

sn ts, kl sk

Then fill up the blank space by the vowels and

diphthongs in the three first lines of the Chart for

each, and sing them. There will be no occasion to

write the vowels. The result is

gleelb glailb glaalb glaulb gloalb gloolb

glilb glelb glalb glolb glulb gluolb

gleilb gloilb gloulb gleulb
kweelf kwailf kwaalf kwaulf kwoalf kwoolf
kwilf kwelf kwalf kwolf kwulf kwuolf

kweilf kwoilf kwoulf kweulf
akr'eemd skr'aimd skr'aamd skr'aumd skr'oamd

skr'oomd
skr'imd skr'emd skr'amd skr'omd skr'umd

skr'uomd

skr'eimd skr'aimd skr'oumd skr'eumd
speend spaind spaand spaund spoand spoond
spind spend spand spond spund spuond

speind spoind spound speund
thr'eenj thr'ainj thr'aanj thr'aunj thr'oanj

thr'oonj

thr' in j thr' en j thr' an j thr' on j thr'unj thr'uonj
thr'einj thr'oinj thr'ounj thr'eunj

snits

kleesk
klisk

snaits

snets

sneits

klaisk

klesk

kleisk

snats
snoits
klaask
klask
kloisk

snauts

snots

snouts

klausk

kiosk

klousk

snoats

snuts

sneuts

kloask

klusk

kleusk

snoots
snuots

kloosk
kluosk

and so on for another set of seven. The rate of
singing should be varied, and the airs should also

be greatly varied. Some of these combination!
will be found excessively difficult to produce wit]
accuracy, lightness, and rapidity^ at which practio
should aim.

II. ACTUAL WORDS.

Ex. 24. Contrast of [ee and i]. To be sai<
with the hand feeling the action of the throat. T<
be sung at different pitches to contrast the singinj
effect of the two, and shew the advantage of no
distinguishing them in singing. In the first word
the final syllable in i is naturally very short am
weak, it must be here uttered as if it were lonj
and strong. The words are in both spellings, th
Glossic being in italics. The consonants glidin
on to and off from the vowels are the same in th
contrasted cases.

a. On open ee and i.

A shabby bee

Let baby be

A palfry free

With ugly glee

A tiny knee

The glassy sea

Thy mercy see

Make worthy thee

A wintry tree

Thy enemy me

An ashy she

Best city tea

Of a verity 'tis very tea

Cried gruffly flee

A bulky key

A trusty trustee

A shab-i bee

Let bai'bi bee

A pau'lfr'ifree

Widh ug'li glee

A tei'ni nee

Dili glaa-si see

Dhei met" si see

Mai'k wet"dhi dhee

A win'tr'i tr'ee

Dhei en'emi mee

An ash-i shee

Best sit'i tee

Ov (i ver'-iti tiz ver'"i tee

Kr'eid gruf'lijftee

A bul'ki kt-e

A tr'us-ti tr'ustee'

b. On closed ee and i.

Although ee is always long and i always short i
speech, the singer must practise making both lonj
and both short. Hence the length is not marke<
But part of the length and shortness of the vow*
must be marked by the looseness and tightness (
the glides.

Sec. XI, A. II.

ENGLISH EXERCISES WITH ACTUAL WOEDS.

129

eel, ill eel, il

e. On short weak i to be distinguished from w' or ee

eat, it eet, it

possible pos-ibl ' ability abil'iti

peat, pit peet, pit

article aa'rtikl aspirate as-piret

peach, pitch peech, pick

latitude lat'iteud surplice ser-plis

peak, pick peek, pik

agility ajil'iti precipice pres-ipis

peel, pill peel, pil

beat, bit beet, bit

Ex. 25. Contrast of [ai, e, a]. The ai is alwaya

bead, bid beed, bid

long. It may be sung as e, but may not be sung

beach, bitch beech, bich

as ai-y with the vanish, still less must it approach

breaches, breeches br'eechez, br'ichez

the diphthong ei. The e, a are always short in

beaker, bicker beeker, biker

speech, but must be lengthened in singing. The

bean, bin been, bin

e may be taken as ae. The a may, and in singing

teat, tit teet, tit

should be taken as #' ; it should never be spoken

teach, stitch teech, stich

or sung as ae or e. Thus ai, e, a may be

teak, tick teek, tik

sung as e, ae, a\ In the Exercises the proper

teal, till teel, til

spoken sounds are written. The contrasted vowels

team, Tim teem, tim *

are between the same consonants, in order that

between, twin bitween, twin

they may have the same mixed glides before and

deep, dip deep, dip

after them, which so much modify their effect.

deed, did deed, did

As real words had to be selected the contrast is not

deal, dill deel, dil

always complete.

deem, dim deem, dim

ai e a ai e a

dean, din deen, din

pate pet pat pai't pet pat

keel, kill keel, kill

paid pad pai'd pad

keen, kin keen, kin

peck pack pek pak

feet, fit feet, fit

bate bet bat bai't bet bat

fief, fifty feef, fifti

obeyed bed bad oabai-d bed bad

feel, fill feel,fil

bake beck back bai-k bek bak

these, this dheez, dhis

beg bag beg bag

seat, sit . seet, sit

bale bell ballot bai'l bel bal'ut

seek, sick seek, sik

bane Ben ban bai-n Ben ban

seen, sin seen, sin

tape tap tai-p tap

sheep, ship sheep, ship

take tack tai'k tak

gleam, limb gleem, lim

tale tell tallow tai-l tell tal-oa

wheat, whit wheet, whit

tame temper tamper tai'm tem-per tam-per

c. On open ee followed by i.

ten tan ten tan

reiterate r' ee-it'ur' ait deify dee'ifei

date debt dai't det

reimburse r'ee-imbet-s theism thee'izm

dead dad ded dad

reinstate r'ee-instai't atheistai'thee-ist(ai-thiist)

deck dactyle dek dak- til
deaf daft dcf daft

d. On long i before vocal r.

dale dell dally dai'l del dal-i

beer bi-u (beer) j sheer shi-u (sheer)

A A J '. J

o.ame dam ctat m ctam

deer di'u (deer) veer vi-u (veer)

deign den Dan dai'n den Dan

ji'ii deer) career /nt-r'i'u (karee'rj cape cap kai-p kap

130

ENGLISH EXERCISES WITH ACTUAL WORDS.

Sec. XI, A. II.

ai e a, ai e a

Ex. 26. Contrast of [au, o]. Au is always

Kate cat Kai't kat

long, and o is always short in received pronuncia-

1 r\4-s\\\ -r\ rtr-<-rtV\ Z^>/>^4//M Z*//>7i

tion, but both will have to be sung lon and botl:

KGuCnilp C'dbCil fC&O/tf WJJ rvttrO/tr

case kestrel cassock kai's kes-trel kas~uk

also short. The speaker should be especially

cane kennel can kai-n ken-el kan

exercised in uttering au short and o long, to mak(

nfinn

him feel the difference of quality, which is simila]

gape gap gaip gup

gate get gat gavt get gat

to that of ee, i. The singer may take either au 0]

game gambit gavm gam-bit

o as suits his pitch.

fate fetter fat favt fet-er fat

face fester fascinate fai's fes'ter fas-inait

au o au o

fail feU fallow fai-l fel fal-oa

awed odd au-d od

fain fen fan fai-n fen fan

pawed pod pau-d pod

sate set sat savt set sat

pawned pond pau-nd pond

said said sad sai'd sed sad

sawed sod sawd sod

sale sell SaU savl sel Sal

hawed hod hawd hod

same seamstress Sam savm sem-stres Sam

haul holiday hau-l hol'idai

shade shed shadow shavd shed shad'oa

maul Moll mau-l Mol

shale shell shall shai-l shel shal

stalk stock stawk stok

shame sham shai'm sham

awful office au-fuol of'is

late let lattice lai-t let lat'is

wall wallow wau-l wol'oa

leg lag leg lag

auricle oracle au'r'ikl or^'ukl

laoe less lacerate lavs Us las-ur'ait

awn on au-n on

lake lack lai-k lak

yawn yon yawn yon

lame lemon lamh lavm lem'en lam

gnawed nod nau'd nod

lane lend land lavn lend land

fawned fond fau-nd fond

mate met mat mai't met mat

gaud God gawd God

made meadow mad mavd med'oa mad

pall pollard pawl pol-erd

make Macclesfield mai-k Mak'lzfeeld

wrought rot r'au't r'ot

mace mess macerate mavs mes mas-ur'ait

hawk hocky hawk hok'i

male mellow mallet mai-l mel-oa mal-et

taught totter tawt tot-er

maim member mammal mai'm mem'ber mawel

salt solid saw It sol-id.

nape Neptune nap nai-p Nep-teunnap

Weak au.

neb nab neb nab

net gnat net nat

audacious audai-shus August (s.) au-gust

snake neck knack snavk nek nak

authority author' -iti augment fv.j augmen-t

navy nephew navvy nai-vi neveu navi

austere austee-r augment fs.j au-gment.

nail knell nai'l nel

august fad.) mtgus-t

Remembering that air means e~u, and aver means

ai u in two syllables, compare also

Ex. 27. Contrast of [au, oa, o, u]. The oa

lair, layer farr, laver

must be quite pure, with no after-sound of oo, and

player -plaver ; slayer slaver

never approaching to ou. The singer may take oa

prayer, pray-er prai'r, praver

or ao as suits convenience of pitch ; but he must

o bear, obey-er oa bai-r, oabaver

then keep his ao quite distinct from au. The au

wear, we -er wai . waver and o should be distinguished, as in Ex. 26. When

Sec. XI, A. II.

ENGLISH EXEKCISES WITH ACTUAL WORDS.

131

oa is taken short, there is a risk of confusing it

final, as an u or u\ and treating it before a vowel

with uu ; thus boat short, is apt to sound like buut.

as if it were er ; that is, as if there were a per-

This must be guarded against. The u may be

missive trill after it. This has to be particularly

pronounced ag uu according to convenience of

avoided.

pitch-

Pronounce. Not.

ati oa o u au oa o u

window win'doa win'du win'der

bought boat bott butt bau't boa't bot but

tallow tal'oa tal'u tal'er

caught coat cot cut kau't koa't kot cut

yellow yel'oa yal'u yal'er

groat Grote grot gr'au't Gr'oa't gr'ot
abroad road rod rudder abr'au'd r'oa'd r'od r'udder

fellow fel-oa fel'u fel'er
mellow mel'oa mel'u mel'er

flawed flowed Flodden.fiood.Jlau'djloa'd Flod-njlud

tobacco toabak'oa tubak-u terbak'er

sawed sowed sod sud sau'd soa'd sod sud

potatoe poatai'toa putai'tu pertai'ter

gnawed node nod nau~d noa'd nod
nought note not nut nau't noa't not nut

tornado taunai'doa taunai'du taunai'det
lumbago lumbai'goa lumbai'gu himbai'gei

sought creosote sot sutler sau't kr'eeoasoa't sot sut'ler

( veirai'goa ) . ~ . .
virago > veirai-gu veirai'ger
( v^ra^ goa )

Ex. 28. Contrast of [oa-er, oar, au.] When
oar is written, aou or aour is pronounced. This
forms one syllable. But Londoners are apt to say
auu or simply au. Guard carefully against au;
but allow auu when convenient. An older sound
still heard from elderly people, is oau or even oa-u'
in two syllables, which is written oa-er or oa'er.

sago sai'goa sai'gu i-avger
cargo kaa'goa kaa'gu kaa-ger
echo ek'oa ek'u ek'er
halo hai'loa hai'lu hal'ler
buffalo bufuloa buf-ulu buf'erler
volcano volkai'noa volkai'nu volkai'ner
hero hee'rr'oa hee'rru hee'rr'er

oa-er oar au oa-er oa-r au

Ex. 30. Contrast of [oa] and [oo].

blow-er Blore law bloa-er bloa'r lau

oa oo oa oo

ow-er ore awe oa'er oa~r au

grove groove gr'oa-v gr'oo'v

tow-er tore taw toa~er toa'r tau

coat coot koa't koo-t

go-er gore goa'er goa'r

dome dome doa'm doo-m

row-er roar raw r oa'er r'oa'r rau

roam room r'oa'm r'oo'm

ho-er hoar 4 haw hoa'er hoa'r hau

toll tool toa-l too-l

shew-er shore shaw shoa'er shoa'r shau

gloaming gloomy gloa-ming gloo-mi

low-er lore law loa'er loa'r lau

bone boon boa'n boo'n

sow-er sore saw soa'er soa'r saw

noee noose noa-z noo-z

mow-er more maw moa'er moa'r mau

stole stool sloa'l stoo-l

tit ow-er store stoa'er stoa'r stau

home whom hoa-m hoo'm

And compare

hope hoop hoa'p hoo-p

draw, drawer dr'au, dr'au'er (one who draws), or

loaf aloof loa-f aloo-f

dr'au'r (box which is drawn) ; saw, sawer sau,

pope poop poa'p poo-p

sau'er (one who saws) ; taw, tawer tau, tau'er (one
who taws leatherj .

Ex. 31. On [ooj. There is a danger of not
beginning to say oo with the mouth sufficiently

Ex. 29. Contrast of weak [oa] and [or.] There

closed. This leads to oo having a sound at one

is a habit of pronouncing words having a weak oa

time approaching ou and at another approaching

132

ENGLISH EXERCISES WITH ACTUAL WORDS.

Sec. XI, A. II.

eu. In all the provinces there is a habit of using
a sound approaching eu, where the sound is written
'u' after r These errors should be carefully
avoided

boot boo't

booth boo-dh

coop koo'p

droop dr'oo-p

goose goo's

hoof hoo-f

hoot hoo't

hoop hoo-p

poop jt?00'j9

roof roo'/

shoot shoo't

sooth so0-A

soothe soo'dh

cruel

brute

drupe

ruin

true

fruit

kr'oo-el
br'oo-t
dr'oo'p
r'oo'in
tr'oo
fr'oo-t

recruit rikr'oo't

rule r'oo'J

scruple skr'oo'pl

truth fr'oo-^

truce tr'oo-s

shrewd shr'oo'd

rheum r'oo'm

rue r'oo

soup soo'p rude r'oo^d

yOUth 2/00'^ ^M^ Generally. Occasionally.

do doo fluke floo'k flewk

two 00 flute floo't flewt

move moo'V lute /oo - lewt

lose ?o0* lieu /oo leu

loose /oo' illumine illoo^min illeu'min

After , ^, w, and s keep ew, when indicated, as
tulip teu'lip tune teu'n

tunic teu-nik Teutonic Teutorrik

multitude mul'titeud dupe rfewjo

durable dewrr'ubl deuce rf^ws

dew deu neuter neu'ter

neutral neu'tr'el new neu (not woo)

newt neu't neucleus neu'klius

nuisance neu'sens

supreme seupr'ee-m (not soo, nor shoo)
suit sewt (not *oo', nor shoo-t)

sue *ew (not *oo, nor *Aoo)

Susan Seu-zen (that is, Sioo f zu'n, not See'dozu'n,

nor Soo'zu'n)

Ex. 32. Contrast of [oo, uo, u].

pool, poo-l pull, puo'l (not pool, which is Fr. poule)
fool, foo'l full, fuo'l (not fool, which is Fr. foule)
room, r'00-m (not r'uom, as often incorrectly said)

soon, soo-n (not suon, as often incorrectly said)

cool, koo-l wool, wuol

cooed, koo'd could, kuod (not koo'ld]

wooed, woo'd would, wuod (not woo'ld]

book, buok (not boo-k, nor book)

brook, br'uok (not br'oo'k, nor br'ook]

cook, ^woA; (not koo'k. nor 7coo^)

crook, kr'uok (not kr'oo-k, nor krook)

hook, Mo# (not Aoo-A;, nor 7ioo/c)

nook, WMO& (not ?>oo-^, nor nook]

good, ywod hood, huod

wood, wuod (not wwc?, nor uod, nor oo'rf)

foot,fuot (notfut)

should, shuod (not *Aw^, nor shoo'ld)

wool, wwo? (not oo- 1, nor -oo)

cushion, kuosh'en (not kush-in)

push, puosh (not push)

PUSS, J9W0S

put, J9W02 (notjow^)
bull, *o? (not bul]
bullet, buol-et buUy, *wo/-

pull, ^?M0/ (not J3M?)

pulpit, puol-pit (not pul'pit)
bulwark, buol'werk
bulk, *wM; (not

Ex. 33. On long [u] or vocal [er]. Mr.
Melville Bell distinguishes the vowel sounds in
each of the following pairs as having e\ t r and uuj
respectively. I recommend both vowels in each
pair to be pronounced with u long, when strong,
and u or u 1 short when weak. In the first set uu
long (from which uu- tf r differs almost imperceptibly)
would be disagreeable, in the second set it is
endurable ; but u long sounds well in both sets.
The context will always prevent ambiguity. In
some provinces aer\ uur\ ae^r, uu t r are used.

both as that is

kernel colonel kernel ku-nu'l

pearl purl perl pu'l

pertinence purtenance per-tinens pwtinu'ns

pervade purveyed pervai-d pu'vai'd

circle surcle ser-kl su'kl

Sec. XI, A. II.

ENGLISH EXERCISES WITH ACT DAL WORDS.

kerb

curb

kerb

ku'b

firs

furze

ferz

fu-z

earn

urn

ern

u-n

serf

surf

serf

SU'f

Ex. 34. On the Diphthong [ei.] Except in the
word aye, which must have aay or aa-y, all English
ei diphthongs have the sound of uy or tfy, but
may have aay. In the provinces, two forms are
distinguished, the first or ey class, varying as uy,
u-i/, uu-y, ey, aey, and the second or aay class,
varying as aay, aa-y, ahy. Be careful that only
one sound is used. See Ex. 15.

Ei diphthongs of the ey class in Mid Lothian,

Scotland.

pipe peip, type teip, tripe tr'eip, wipe weip
bribe br'eib, gibejeib, kibe keib, tribe tr'eib
bite belt, kite keit, sight seit, right r'eit
wide weid, bide beid, bride br'eid, chide cheid,

guide geid, hide heid, ride reiu, side seid
dike deik, like leik, pikepeik, tike fei&
fife /a/, life fet/, knife /, wife weif
to wive 00 weiv, two lives 00* feivz
blithe bleidh, lithe fei^A, scythe m^A
dice dels, lice few, mice meis, nice m, price .pros,

rice r'eis, trice fr'm, twice tweis, thrice *Ar'm,

spice *pt, vice veis, wise tmz (but in Mid

Lothian Scotch, weys)
pile peil, tile *J, guile geil, file //, mile wtf,

Nile Neil, vile mJ, while wheil, mild 0tt&,

wild wriW, piled peild, filed /, tiled teild,

beguiled biff ei' Id

Ei diphthongs of the aay class in Scotland.

(ay in Edinburgh.)

cried kreid, died deid, fried /rW, lied leid, sighed
wtrf (*yrf, when not seky'ht], spied *prf, tied
teid, pie&peid, denied tftneu?
size seiz, prize jt?r'az, guise geiz, otherwise udh'er-

weiz, rise reiz

pies j^tz, ties few, fries freiz, dries ^ms, dies deiz,
spies piz, Ues foiz, denies dinei-z, sighs seiz,

133

;, when not seky'hz], Guys Oeiz, buys beiz,

shies sheiz

trial trei-el, dial dei'el, vial vei-el, denial dinei-el
buyer &?r<?r, dyer &**, fire/m*, tire feir, sire mr,

desire dizei-r, shire sAm-, lyre fotr, liar lei-er
And generally when <?i is final, or when ei precedes
a vowel. This rule does not hold for English
dialects. In aU these cases the received English
sound is uy or a'y, and no distinction whatever is
made. Avoid especially any approach to oi.

Ex. 35. On the Contrast of [ai] and [ei.] In

the East and South East of England and in
London, the habit of pronouncing ai long, as ai'y,
that is, ai'i with the vanish, has led to forming it
into a diphthong of the ey class, as aiy, ey, aey, ay
up to aay occasionally, and hence to a confusion of
the ai and ei words. Generally those who make
ai a diphthong of the ey class, put a diphthong of
the aay class in all the words in Ex. 34, and hence
prevent the confusion, which, however, is very
conspicuous and unpleasant to the ears of those
who do not use the vanish at all, or use it very
slightly, keeping the ai perceptibly longer and
slurring with a loose glide on to t. Hence the
following distinctions must be clearly made and care-
fuly practised by inhabitants of the East and South
East of England and of London. At first, use e long
for ai long for greater security against the vanish.
The vanish ai-y is most generally used (1) at the
end of a word, when no consonant follows, or the
word does not join on closely to the next con-
sonant ; thus : Will you pay ? Wil eu pai'y ?
Will you pay me ? Wil eu pai-mi ? The in-
flexional z, d does not take off the vanish he pays,
he pays me, hee pai-yz, hee pai-zme ; is it weighed,
he weighed it iz it wai-yd, hee wai'd it. (2) Be-
fore the consonants t, d, I, n, as in fate fai-yt,
made mai-yd, rain rai-yn.

The vanish is generally absent when a weak
syllable follows, as mated mai-ted, rated rai-ted,
railed in with rails rai'ld in widh rai-ylz.

The singer should never use the vanish.

134

ENGLISH EXEKC1SES WITH ACTUAL WORDS.

Sec. XI. A. II.

ai ei ai ei

but now ei has become extremely vulgar, and mus

tape type tai'p teip

therefore be studiously avoided.

gaby gibe gai'bi jeib

anoint pronounce as anoi'nt, not anevnt

rate write r'ai't r'eit

ointment oi-ntment, not ei'ntment

played plied plai-d pleid

oil oil, not eil

lake like lai'k leik

boil boil, not beil

waif wife wai-f weif

broil broil, not m

wave wive wai'v weiv

coil &oi, not keil

lathe lithe lai'dh leidh

foil /otJ, not feil

mace mice mat's meis

foist /ot*, not ./few*

raise rise rai-z reiz

froise froiz, not /reiz

tail tile tai'l teil

groin groin, not ^mw

male mile mai'l meil

hoise Aoiz, not heiz

tame time tai-m teim

hoist Aois#, not heist

lame lime lai'm leim

join /o*, not y^i

pain pine pa'rn pein

joint joint, not /(?**

Dane dine Dai'n dein

joist joist, not ym* (and not jeis)

pay pie pai pel

loin /oiw, not foiw

bay buy bai bei

moil moil, not wa/

day die dai dei

point point, not jem<

gay Guy ga^ gei

poise ^?oiz, not peiz

whey why whai whei

poison poi'zn, not pei'zn

way Wye wai JTei

soil *oi/, not *ei^

fay fie fai fei

spoil spoil, not */?/

they thy dhai dhei

say sigh sai sei

The following are often vulgarly mispronounced

lay lie lai lei

destroy destroi-, not destrei-'

may my mai mei

decoy dikoi', not dikei'

nay nigh nai nei

loyal fci'^/, not lei" el

ray rye r'ai r'ei

royal roi'el, not rei'el

eh ! I ai ! ei

voyage vor^/, not wr<?;' (nor voi-j, veij)

Ex. 36. On the Diphthong [oi]. Generally this
is more like au-y when final, or before a vowel, or
voiced consonant, and more like oy before a mute

The word " oilet " is now spelled " eyelet " from
mistaken etymology, and is still called ei'let. Th
word " tortoise " is generally taur-tus, but may b

or hiss. The singer always uses au-y when it is

tau'tus, tau'tis, tau'tiz.

more convenient.

sepoy see-pau'y

Ex. 37. On the Diphthong [ou] The provin

boy bau-y, buoy bau'y, bwawy (or boo'i], buoyed

cial habits must be avoided. The literary sound

bau-yd, bwau-yd (or boo-id]

are uw, cfw, but uuw, aaw are accepted, and aht

toy tau-y, toyed tau-yd, quoit koyt

may be used in singing deep notes. Avoid the e\

coin koyn, cawing kau'ing

class of ew (London and North Kent), aw or ai

In the following words ei was used universally

(both in Norfolk and Suffolk, and in South Lanca

in place of oi from one to two hundred years ago, shire). Avoid the oaw class of oaw, aow, auu

Sec. XI, A. II.

ENuLISH EXERCISES WITH ACTUAL WORDS.

135

uuw (more or less general in the provinces). Of
course, avoid the provincialisms of long aa, long a,
long oo in place of ou. Avoid using the ou diph-
thong in place of the simple vowels au, oa.

Provincial oo is frequent in

down doun, town toun, crown kroun, tower tour,
now nou, trowsers trou'zerz, how hou, flower flour,
power pour, drown drown, cow koo, a sow a sou,
to how too bou.

plough plou, round round, sound sound, mound
mound, hound hound, doubt dout, thou dhou,
ahout abou-t, count kount, out out, a house a hous^
to house too houz, sour sour, flour flour, our our,
found found, hound bound, ground gr'ound.

Provincial ou is frequent in
brought brau't, sought sau f t, fought fau-t, hought

bau-t, ought au~t. nought nau't, soul soa'l, four

focrr, pour poa-r.
old oa-ld, cold koa'ld, sold soa-ld, told toa'ld, fold

foa'ld, stroll stroa'l, toll tocfl, roll rocrl.

Ex. 38. Contrast of [oa] and [ou]. Londoners
constantly pervert the vanish oa'w into a diphthong
of the oaw class, as oaw, uuw. This occasions no
confusion to the speakers as they also use ew for ou.
Hence the necessity of correcting hoth errors at
once. The vowel in the oa column helow is to he
called oa without any vanish, and even ao rather
than oa-w. The ou column is to he pure uw, a'w,
or uuw, aaw, without a shadow of rounding of the
first element, and without a trace of the ew, aew
sounds.

ou oa

bow (..)

sow (v.)
mow (v.)

bough boa
sow (s.) soa
mow (s.) moa

bou
sou
mou

now noa

nou

roe
poach
boat

row (noise) r'oa
pouch poa'ch
bout boa't

r'ou

pouch
bout

bode

bowed boa-d

boud

boar

bower boa-r

bour

toze

towse toa'z

touz

oa
tore
dote

condone

coach

coal

tower

doubt

douse

down

couch

cowl

goul

fowl

loud

toa'r
doa-t
doa's

ou
tour
dout
dous

kondoa-n doun

koa'ch Jcouch
koa'l koul
goa'l goul

foal fowl foa'l foul

load loud loa'd loud

The vanish is most generally used when oa is
strong and final, not followed by a weak syllable,
and before p, b, f, v, m, and I, but is not otherwise
very common. Thus low loa'w, know, no noa-w,
shew shoa-w, bowl boa-wl ; pope poa'wp, robe
r'oa'wb, loaf loa~wf, loaves loa'wvz, roam roa-wm,
foam foa'wm, old oa-wld, soul soa'wl.

Ex. 39. On the Diphthong [eu]. Eu may always
be sung wo, see Ex. 15.

eu is yoo in

you eu (yooj, youth eu-th (yoo'thj
eu is ywo- in

yew eu (ywoj, ewe eu, use eus euz, unite eunei't,
union ewnieu.

eu is loo' in

pew peu (pwoj, imbue imbeu-, tune teun, dew deu,
cue queue keu, gewgaw geu'gau, few feu, view, veu,
thew theu, sue seu (not soo, shoo], news' ueuz,
nuisance neu'sens, newt neu-t, and occasionally in
lieu leu or loo, lute loo't or leu~t, illumine illoo'mw
or illeu'min.

eu is wo or yoo according as the preceding con-
sonant is medial, or final, but never i, in
monument moweument (mon'womentotmon-yooment y

never mon'imentj, document dok-eument, regular

reg'euler, popular pop f euler, &c.

Ex. 40. On Murmur Diphthongs and Triph-
thongs, or Vocal E and Trilled R'. The words
and the classes are chiefly selected from Mr.
Melville BeU's "Visible Speech," pp. 113116,
but the present arrangement and treatment are in

136

ENGLISH EXERCISES WITH ACTUAL WORDS.

Sec. XI, A. II.

accordance with the previous explanations.
Throughout the examples strong er is meant for
u', with permission to insert r' after it, and weak
er is u or u, with the same permission to insert r.
The combinations eer, air, oar, oor stand as usual
for i-u, e'u, ao-u, uo-u, with permission to add r'.
In the case of aar, aur, the r indicates either u or
ur\ but may be, and frequently is, entirely omitted,
that is, aar, aur, is aa m u, aa'ur'; awu, awur' , or even
aa-, aw simply This orthography, therefore, is
designedly as ambiguous as the received customs
of pronunciation, which is still in a transitional
state. The only important point to remember is
that r' is not usually inserted except before a vowel,
and, when pronounced, is very light in the extent,
duration, and rapidity of vibration.

1. Er, which may be uur ; that is, w, which may

be uw.
word werd, journey jerni, furnish fernish, spurn

spern.

There is a tendency to pronounce these words with
aa, as spaa'n or spaa-un for spern. This should be
avoided.

2. Er which may be e'r but not uur ; that is,

w which may be e' m but not uw.
myrrh met; guerdon gerdn.

The tendency to use aa or aa-u for er in these words
is not so strong as for No. 1, but should be avoided
except in a few words, where it is received, as
clerk klaa-k, Derby Daa'bi.

3. Err', with er as in No. 1.

recurring riker-r'ing, spurring sperr'ing, purring
perr'ing, blurring bler-r'ing, slurring slerr'ing,
demurring Aimer- r' ing.

These words have occasionally only ur', as rikur'-ing,
spurring, purging, blur'-ing, slurping, dimur''ing.
This pronunciation is general in current kur''ent,
recurrent rikur'-ent, occurrent okur''ent.

4. Err , with er as in No. 2.
preferring priferr'ing, conferring konferr'ing,
referring riferr'ing, erring err' ing, deterring
diter'r'ing.

These words have occasionally only er' as pr if erring,
konf erring, rif erring, er'-ing. This pronunciation
is general in errant er''ent, errand er'-end, deterrent
diter' -ent.

5. Ee'r, that is, i f u, or rur' with light r. No

Englishman says ee-r', no foreigner says eer.

near nee-r, beer bee m r, here hee~r, we're wee-r,
pier peer.

6. Ee'rr', that is, i-ur . No Englishman says err',
which is a Scotch and American and foreign
usage ; no foreigner says ee-rr'.

eyry ee'rr'i, era ee'rr'u, weary wee'rr'i, peeress
pee m rr'es. Never ee'r'i, ee'r'u, wee-r'i, pee'r'es.

7. Ai-r, that is, e'ii or e'ur* with light r' the pro-
nunciation ai'u is provincial or vulgar, foreigners
use e'r' not e'ur'.

care kai'r, pair pai'r, air ai'r, prayer prai-r, there
their dhai'r, bear bai'r, mare mayor, vnai'r (not
mai'r', mai'er).

8. Ai'rr' that is, e-ur ; never ai'r', which is pro-
vincial or vulgar in England, but is heard in
Scotland and America ; foreigners say both ai'r'
and e'r', never e'ur'.

canary kunai'rr'i, fairy fai'rr'i, therein dhai'rr'in,
bearing bai-rr'ing.

9. Oa'r, that is, ao'u or ao'ur' with light r ; to sa>
oa-u is provincial or antiquated ; to say oa-er is a
mistake (Ex. 28) ; to say au is bad, but au-u is
sometimes used; oar', aor' is foreign.

boar boa'r, o'er oa'r, door doa-r, floor jloa-r, borne
boa'rn (but born is bawrn or bawn], torn toa-rn,
sore soa-r, corps koa~r, pour poa'r, towards
toa-rdz (also to^-wawdz).

Sec. XI, A. II.

ENGLISH EXERCISES WITH ACTUAL WORDS.

10. Oa-rr' that is, ao-ur' ; never say oa~r\ ao-r'
which is Scotch, American, or foreign ; no
foreigner uses oa-rr' ; avoid awr\

glory gloa-rr'i (not gloa-r'i, much used by older
clergymen and ministers), soaring soa-rr'ing,
pouring poa-rring.

11. Oo-r, that is, uo'ii or uo-ur" with light r 1 ; never
oo'u or oo'ur ', which is provincial, antiquated, or
vulgar ; no foreigner says uo'ur* , hut only oo'r'.

poor poo- r, moor MOOT, tour foo'r, sure shoo'r (or
shewr], lure foo'r (or lewr], allure afoo-r (or
alewr).

12. Oo'rr', that is, wo-eV ; never ooV, which is

Scotch or American.

poorer poo'rr'er, surer shoo'rr'er (or sheu'rr'er),
assuring ashoo-rring (or ashewrr'ing), tourist
too'rr'ist.

13. ^wr, that is, when following consonants iuo-u
or twur', with faint r' ; and when initial yuo-u,
yuo-ur'', yiuo'u, or yiuo'ur' 1 ; never WOT', which is
foreign.

cure kewr, pure pewr, endure endewr, immure
immewr, your ewr (ywu), ewer ewr (yiuo'u in
one syllable).

14. Ewrr' , that is, after consonants 'iuo'ur',

never ewr'.

iwcyfewrr'i, purer peu-rr'er, enduring endetrrr'ing,
immuring immeu'rr' ing.

15. Aa-r, that is, permissively aa-u or aa'ur' with
light r\ but more generally <r, and very rarely
aa-r' ; never aar\ which is Scotch, provincial, or
foreign.

hard haa'd (or haa-rd), clerk klawk (or klaaTk]y
some say ^^rA; (especially in America), heart
haa't (or haa'rt), guard gaa'd (or gaa-rd}.

16. Aa-rr\ that is, permissively ea-^r' with light
r', but more generally aa-r, never aar', which is
foreign or provincial.

starry staa-r'i (or staa'rr'i), tarry (covered with
tar) taa-ri (or taa'rr'i, the verb tarry is tar'-i}.

137

17. ^iwr, that is, permissively au-u or au-ur\
but more generally w, and very rarely au m r' ;
never awr', or, dor 1 ; before a vowel, r' is com-
pulsory.

war wau (or wau-r ; but " the "War Office " dhi
Wawr 1 Of -is}, ward wau'd (or wawrd}, swaim
swau-m (or swau-rm), dwarf dwau-f (or ^M r/^/,
extraordinary ek straw diner* i (or ekstr aw r diner' i],
G-eorge /awy ior Jau-rjJ, order au-der (or
auTder), born iww (or bawrn, not boa-rn. See
No. 9.)

18. Au'rr' , that is, permissively wwr', but.

generally awr'.

warring wau'r'ing (or wau'rring, some say
wording], abhorring ab-hau'r 'ing ^or ab-hau-rr'ing^
many say ab-hor'iny, all say ab-hor'-enf).

19. .Sir, that is, ^zw or (?iw/ with light r' ; never
0ir', which is foreign ; avoid ei'er.

Grefeir (in one syllable, not J 'ei'er in two syllables),
lyre lelr (not lever, which is "liar"), quire,
choir kweir (not kwei'er, the pronunciations
kawyer, koa'er, koi'er, are modern and ortho-
graphical; chorister kor^'ister used to be quir-
ister kwir''ister], hire heir (but higher hever).

20. Ei m rr', that is, ei-ur' ', or erwr' ; never eV,
which is Scotch or American.

wiry, wiery werrr'i, vxwei'ur'i (not wei'r'i), fiery
fei-rr'i, orfei'ur'i (not /err' i).

21. Owr, that is, owu or ou'ur* with light r' ; never

owr', which is foreign ; avoid ou-er.
hour our (not ower], power pour or power],

ourselves oursel'vz, ours owrz, flour ,/fowr, flower

flower.

22. Owrr' that is, owur', or owu ; never owr\
dowry dowrr'i (not dowur'i nor dowr'i), flowery
flowrr'i (or flowur'i, not flowr'i], showery
showrr'i (or sAowwr'i,

138

ENGLISH EXERCISES WITH ACTUAL WORDS.

Sec. XI, A. III.

Weak Syllables.

23. J2r, that is, u or ', with an r only when a
vowel follows ; to use an r' in other cases has a
pedantic or foreign effect ; even in the provinces
when r' is used it is very light indeed ; but in
place of u or u 1 some speakers use aa, especially
when the writing is ' ar.' When this is not
orthographical (and therefore pedantic) it is
very vulgar ; any attempt to discriminate the
vowels according to the orthography is contrary
to the present stage of development of the
language, those who do so, ought to trill their r'
final and make a new pronunciation altogether.

paper pai-per, circuitous serkeu-itus, answer aa'nser,
martyr maa-ter, altar, alter awlter, grammar
gram'er, particular pdatik-euler (pertik'euler,
pertik'ler are both vulgar), peculiar pikeu'lier ;
spectator spektai'ter, tailor tavler, razor rai'zer,
orator or''uter ; azure azh'er (or ai-zher, azh-eur,
ai'zheur), fissure Jish'er (or Jish'eur, Jis-eur),
measure mez'her, nature nqi'teur (or nai'cher,
nai'cheur, but not nai'ter, which, formerlv correct,
is now vulgar), feature fee-teur (or fee'cher,
fee'cheur, notfee'ter'), stature stat'eur (or stach'er,
stach'eur, not stat-er), figure fig'er (oijig-eur).

24. eur, that is, iuoii or twowr', rarely used. See

last Examples to No. 23.

25. aa, written "ar," has entirely lost the r' in
weak syllables, but has not sunk to er when pre-
ceding the strong syllable.

barbarian baabai'rr'ien, particular paatifreuler
partake paatai'k, marquee maakee-.

26. au, written " or," has entirely lost the r' in
weak syllables, but has not sunk to er when pre-
ceding the strong syllable.

ornate aunai-t, ordain audai'n, organic augan'ik
orthography authog-rufi, orthoepy authoa'ipi.

Ex. 41. On words of Two Syllables apt to be
Pronounced as words of One Syllable. When a long
vowel or diphthong is followed by a short weak or

' and a consonant, there is a tendency first to speak
it with the long vowel or diphthong as a murmur
diphthong or triphthong, and then to omit it
altogether, thus quiet kwei-et becomes kwei'ut and
then kweit, and real ree-el becomes ree-ul and then
ree-L The following contrasts should be studied.

dyad dei'ed
dryad dr'ei'ed
triad tr 'ei'ed
Dyak Dei'ek
Troad Tr'oa-ed
dial dei'el
vial vei'el
denial dinei'el
trial tr'ei'el
real r'ee'el
really r'ee-eli
diet dei'et
quiet kwei-et
riot r'ei'et
bias bei'es fbevus)

died deid

dried dr'eid

tried tr'eid

dyke deik

trowed tr'oa-d

crocodile krok-oadeil

vile veil

the Nile dhi Neil

rile r'eil

reel r'ee'l

reeling See' ling

indict indei-t

quite kweit

rite r'eit

bice beis

diamond dei-umend (not dei-meri) dime deim

Ex. 42. On the Mixed and Consonant Glides.
This Exercise is to be formed from the G-lossic
Index, Section XII. Every English vowel is there
found in connection with every English consonant
which glides to or from. it. Examples of all the
consonant glides are also given in the preceding
lists of Initial and Final Combinations.

III. WEAK SYLLABLES.

The following Exercises 43 to 46 are taken
from the examples on pp. 11611167 of my
"Early English Pronunciation," where I have
entered on the subject at greater length than is
here necessary.

Ex. 43. On Terminations involving E, L, M,

N. What is the precise vowel really uttered io
the indistinct weak syllables el, em, en, er, has not
been satisfactorily determined. But u, u', e' may
be used, and as w is now the strong sound of er, it
is most convenient for the singer to take w, which

Sec. XI, A. III.

ENGLISH EXERCISER WITH ACTUAL WORDS.

139

must only slur, that is glide loosely, not tightly, on
to the following consonant. This is expressed in
English Glossic by writing the sound with e. If a
real e sound is distinctly heard, there will he a
slight strengthening, which will be written by
putting () after the following consonant. When
any other vowel is written (as u) it is supposed to
glide on tightly to the following consonant. Hence
if men-shun (mention) were written, the shun would
be as distinct as in men shun (men shun), but
wen's hen would have the indistinct sound.
-and. Husband huz-bend, brigand brig-end, head-
land hed'lend, midland mid- lend.
-end. Dividend dividend (or dividend], legend

lej-end (or lee" j end j.

-Ond. Diamond dei-umend, almond aa'mend.
lind. Rubicund roo-bikund, jocund jok-und.
-aid. Haggard hag-erd, niggard nig-erd, sluggard
slug-erd, renard ren'erd, leopard lep-erd, or more
nearly hag-ed (not hayed-), &c., never hag-ard, &c.
-erd. Halberd hal-berd, shepherd shep-erd (not

shep-herd], or more nearly hal'bed, shep-ed.
ance. Guidance gei'dens, dependance dipen'dens,
abundance abun-dens, clearance klee'rr'ens, tem-
perance tem-pur'ens, ignorance ig-nur'ens (we
might write tem-perr'ens, ig-nerr'ens, meaning the
same), resistance rizis'tens ; never use ans.
ence. Licence lei-sens, confidence kon-fidens,
dependence dipen'dens, patience pai-shens ; never
use ins.

-SOme. Meddlesome med'lsem, irksome erksem,

quarrelsome kwor'-elsem ; sum is sometimes used.

Slire. Pleasure plezh'er, measure mezh-er, leisure

lezh'er, (or lee-zherj, closure kloa'zher, fissure

fish-er (mfish-eur,jis-eur}. See p. 138, No. 23.

tlire. Creature kree'teur (or kree-cher), vulture

vul-teur (orvul-cher), venture ven-teur (orven-cher,

not ven-ter], furniture fer-niteur (or fer-nicher,

not fer'niter) , verdure ver-deur and verger ver-jer

are usually both ver-jer.

al. Cymbal sim-bel, radical radi'kel, logical loj-ikel,
cynical sin'ikel, metrical met-rikel, poetical
poaet-ikel, medial mee-diel, lineal lin-iel, victuals
vifelz (or vit'lz] ; the distinction between el and I

in these words may be pedantic, but the singer
chooses u'l in all cases.

-el. Camel kam-el, pannel pan-el (or pan-el-},
apparel apar'-el (or apar'-el-}.

am. Madam mad-em (mad-am- is coming into use
among shop assistants), quondam kwon-dem,
Clapham Klap-em.

Om. Freedom free-dem (emphatically yr^'^ww or
free'dom], seldom sel'dem, fathom fadh-em, venom
ven-em.

an. Suburban suber-ben, logician loajish-en, his-
torian histoa-rr'ien, Christian Kris-tyen (or
Kris-chen\ metropolitan met-roapol'iten, woman
wuom-en (never wuom-an, see -en), watchman
woch-men (or woch-man, watchmen is often, not
always, wotch'men-}, countryman kun-trimen
(sometimes -man, and sometimes plural kun'tri-
men-}.

-en. Garden gaa'dn, children chil'drin, linen
lin-in, woollen wuol-in, women wim-in or wim-en ;
great variety of usage in this termination,
speakers who are not readers use n only ; singers
should use u'n except when in is imperative.

-On. Deacon dee-kn, pardon paa-dn, fashion/s^-ew,
minion min'yen, occasion okai'zhen, passion
pash-en, vocation voakai-shen, question kwest-yen
(kwes-chen, not kwes-shen, kwesh-enj, felon fel-un.

-ern. Eastern ee-stern, cavern kavern; no r', not
different from ee-sten, kaven.

-ar. Vicar vik-er, cedar see'der, vinegar vin'iger,
scholar skol-er, secular sek-euler.

er. Robber rob-er, chamber chai-mber, member
mem'ber, render ren'der.

Or. Splendor splen-der, superior seupee-rr'ier,
tenor ten-er, error er'-er, actor ak-ter, victor
vik'ter.

OUr. Labour lai'ber, neighbour nai'ber, colour
kul-er, favour/rv^r.

-ant. Pendant pen-dent, infant in'fent, quadrant
kwod-rent, truant troo-ent.

ent. Innocent in-oasent (not in-ersent, in-usent ,
quiescent kweies-^nt, president prez'ident.

-ancy. Infancy in-fensi, tenancy ten'ensi, con-
stancy kowstensi.

140

ENGLISH EXEECISES WITH ACTUAL \VORD8.

Sec. XI. A.

ency. Decency dee-sensi, currency kur'-ensi,
tendency ten'densi.

-ary. Beggary beg-ur'i, summary sumur'i, gran-
ary gran-ur'i, notary noa-turi, literary lit'ur'er'i
(or lit'ur'ur'i); we might write beg-err'i, &c.,
meaning the same.

-ery Robbery rob-ur'i, bribery brei'bur'i, gunnery
gun-uri ; we might as before write rob-err'i,
meaning the same.

Ory. Priory prei' ur' i (prei'oari and prei'ori are
pedantic, especially the last), cursory ker-suri,
victory vik'tur'i (vik'toar'i is very pedantic),
history his-tu'ri (his-toar'i arid his- tori are inven-
tions), oratory or'-utur'i (or or'-utor'i], prepara-
tory pripar'-utur'i (or -tori).

-ury. Usury eu-zhur'i, luxury luk-shur'i (luk-seur'i
is more heard than ett'feur'i),

Ual. Usual eu-zheuel, manual man'euel (sometimes
?, man'i/elj.

Ex. 44. On other Weak Endings.

-a. Sofa soa-fa, idea eidee-a, sirrah sir' -a. Here
-a is written in English Grlossic, although -er is
commonly said, because no subsequent r' is at all
permissible, and because the pronunciation a' is
not only permissible, but not unfrequent, as
soa-fa', eidee'a', sir' 'a', and esteemed elegant, but
not pedantic. See p. 54.

-OW -OUgh.. Hero hee'rr'oa, stucco stuk'oa,
Tpot&koepoatai-toa, tobacco tubak-oa, widow wid'oa,
yellow yeloa, fellow / 'el- oa, sorrow soroa, sparrow
apar'-oa, borough bur'-oa, (or most commonly
bur'-uj ; in the other words -er or -u is inadmis-
sible, and -err before vowels is extremely vulgar.

-lie, -6W. Value val-eu (not val'i), nephew neveu
not (nevi~).

-iff, -OCk. Sheriff sher''if, bannock ban-uk, haddock
had-uk, paddock pad'uk; never -M, as in Scotland.

-ach -ac- Stomach stum'ukj lilach lei'luk (lai'luk
is old), maniac mai-niak.

acy, icy. Prelacy prel-usi, policy pol'isi (not
pol'usij , obstinacy ob'stinesi,

-ate. (1) I n nouns. Laureate lau-r'iet, frigate
frig-et (often frig-it), figurate Jig-euret (2) In

verbs, when the principal accent is not on the
next preceding syllable, as demonstrate dew-
enstrait, illustrate il-ustrait ; those who place
the principal accent on the next preceding
syllable say dimon-stret, ilus-tret ; custom is un-
fixed ; the latter is beginning to prevail.

-age. Village vil-ej (or vil-ij), image im-ej ( or
im'ij], manage man-ej (or man'ijj , cabbage kab.ej
(or kab-ifj, marriage mar'-ij, carriage kar'-ij.

-Cge. Privilege privilij (not privulijj, college
kol'ij.

-ain, -in. Certain sertin (some say sertri), Latin
Lat'in (some say Ijat'n), captain kap'tin^ (kap'ten t
not kap'n, kap'ting}.

-ing. Singing sing- ing (not sing-gingg), being
bee'ing (not bee'ingg} ; any use of -ir>, or -ing;/, or
-ingk, is provincial or vulgar now.

-fill. Mouthful mou-thfuol, sorrowful sor''oafuol
(not -fel], cheerful chee-rfuol (often cherfel).

-fy. -ize Terrify ter'-ifei, signify sig-nifei civilize
sivileiz, baptize baptei-z ; the ei is quite clear.

-it, -id, -ive, -ish. Pulpit puol-pit, rabbit rab'it,
rabid rab'id, restive res'liv, parish par'- is h; the
i is quite clear.

-il. Evil ee-vl, devil dew I ; the pronunciation
ee-vil, devil is orthographical, and contrary to
general modern and ancient usage.

y, ~ly, -ty, Mercy m^r'K, truly tr'oo-li, pity pit'i;
the i is unobscured, and not i' in general speech ;
tr'oo-lei should be avoided.

-mony. Harmony haa-muni, matrimony mat-ri-
muni (or -moani, -moni], testimony tes-titmtni (or
-moani, -moni).

-most. Hindmost hei'ndmust, utmost tit-must^
bettermost bet-umu*t, foremost foa-rmust ; in con-
scious utterance -moast is often used.

-ness. Sweetness swee-tnes, rather than swee'tnis,
the * generally saves the vowel.

-teous. Righteous, piteous, plenteous, are pro-
nounced by me rei'tyus, pit'yus, plen-tyus, but
perhaps this is pedantic, and I hear generally
rerchus,pich-us orpich-ius, plen-chus or plen-chius.

-ioilS. Precious presh'us, prodigious proadij-us.

Sec. XI, A. III.

"ENGLISH EXERCISES WITH ACTUAL WORDS.

141

ial, -ialty, -iality. Official ofish-el, partial
paa-shel, partiality paa'shial'iti, special spesh'el
(not spee'sheT), specialty spesh-elti, speciality
spesh-ial'iti. All the -ial- are orthograpical.

-Ward. Forward faw werd (not for' -ud) , backward
bak'werd (not bak'udj, awkward au'kwerd not
au-kudj, upward up- werd, downward dou'nwerd,
froward froa-erd, toward toa'erd, towards toa'rdz
(or toowau'dz).

wise. Likewise lei-kweiz, sidewise sei'dweiz.

Wife . Midwife mid- if, housewife huz'if, goodwif e
guod'i ; mid'weif, hou'sweif, guod'weif are ortho-
graphical ; huz-i is also used for a needlecase or
slattern.

-wich. Greenwich Grin- if, Woolwich Wuol'ij,
Norwich Nor' -if, Ipswich Ip-sij (locally, Ip-swich
orthographically ) .

eth. Speaketh spii'keth ; this termination being
obsolete, the pronunciation is orthographical.

ed, -ied. Pitted pit-ed, pitied pit' id, added ad-ed ;
-ed, -id, -i'd are all heard.

CS, -*S, -S. Princes, prince's prin'sez (or -iz, -i'z),
churches, church's cher'chez (or -iz, -i'z}, paths
paa-dhz, path's paa'dhs, cloth's, cloths Moths,
clothes Jcloa'dhz (as a verb), kloa-z (generally, as
a substantive)
Ex. 45. On Weak Beginnings.

a-. (1) When two pronounced consonants follow,
accept aksep't, advance advaa'ns, admire admei'r,
alcove alkoa'v ; a clear a. (2) When only one
pronounced consonant follows, generally very in-
distinct u or u'-, as among u-mung", alas u-laa-s^
adapt u-dap-t ; but great variety of pronuncia-
tion prevails, a, a, being also used as amung-,
alaa's, adap-t, the following consonant being
often taken as medial ; hence in English Grlossic
a is used ; ai must never be said.

6-, be-, de~, re-, when only one pronounced
consonant follows, is generally i, rarely ee ;
decent dee' sent, descent disen't or deesewt, dissent
disen't or dissen't ; emerge imer'j or eemer-j
immerge imer-j or immer'j; elope iloa'p or eeloa-p,
event iven't or eeven-t ; the initial e, de, re, be is
either i or ee, not e, except before s and another

consonant, as despair despai-r, respond respon'd ,

eclipse eklip's, or i-klip-s.
bi-. bei- or bi-, usage varies in the same word,

all such words being classical, bicycle bei-seikl,

bis-ikl.
di-. dei- or di-, usage varies in the same word,

as direct deirek't, direk't, divide divei'd always,

diversity deiver-siti, diversiti. The dei is always

orthographical.
0-. pro-, &o. Oblige, obliged oablei'j, oablei'jd

(oablee-j, oablee'cht are old), occasion okai'zhen,

oppose opoa-z, promote proamoa't produce (v.)

proadeu's, propose proapoa'z, but use varies in

construction.
to-. To-morrow toomor''oa (or tu-mor''oa, not

termor'-erj, together toogedh'er.
for-, fore-. Forbid faubid', forgive faugiv, forego

foar'goa, foretell foartel', but the two last have

also frequently fau-.

Ex. 46. On Weak Words. The order is that of
the frequency of the commonest English words
given in Mr. D. Nasmith's "Practical Linguist,
English," 1871. The clear sound is given first and
the obscure ones afterwards, u being used for the
obscure vowel ; a dash ( ) separates the two. The
indistinctness of our weak monosyllables is not
confined to colloquial pronunciations. It pervades
the most solemn declamations of the pulpit, and is
as a rule most conspicuous where the strong
syllables are most forcible. But for the mere
singer this is of no consequence. He has to sing
the words in their clear pronunciation, or the usual
singing substitutes for it. In ordinary Glossic
only the clear pronunciation is written. The
Examples under ' to ' and ' that ' will shew the
effect of writing indistinct monosyllables, as is
always necessary where it is wished to convey a
conception of the actual treatment of sentences by
a speaker, as for example, in writing dialects. The
clear pronunciation is a literary artificiality, which
the reader has to learn how to overcome, but which
conveys the sense better when the words are taken
separately (as in a baby's lesson book), and hence

142

ENGLISH EXERCISES WITH ACTUAL WORB8.

Sec. XI, A. III.

is better suited to the wants of the singer, who

cannot possibly join his words together as a speaker

does.

and. And und, un, n, nh, scarcely heard at all.

the. Dheedhl, dhi', dhy-, dh-, dhe, dhu. In

singing, use dhi before a vowel, and either dhi

or dhu before a consonant.
I. El does not change, but becomes extremely

short.
yOU. Yoo yoo, yuo, yu ; following t, d it often

changes them more or less completely into ch,j.
he. See hee, hi, ee, i ; the aspirate is constantly

lost when ' he ' is enclitic.
she. 8 hee shee, shi, sh.
it. It does not vary.
We. Wee wee, wi, the w is never lost.
tkey. Dhal'y dJiai, dhe, but not dhu.

have. Sav huv, uv, v.

Will. Wilwul, wl, I.

Shall. Shalshl, shlh.

CUB. Wun wun obscure, the form un is common,
but not received.

to. Too too, tuo, tu; never too, (as often in
America) ; Ex., I gave two things to two men;
and he gave two, too, to two, too, 'El gai'v -too
thlngz tu-too' men, un 'hee gai'v too' too''tu-too'
too-', where (') represents a secondary accent.

be. Bee bee, bi, bu.

there. Dhai'r dhu, and before vowels dhai'rr',
dfierr' , dher', dhur'.

a. Ai'y Hi, a", u, generally u. Before a vowel
an un. Before h beginning a weak syllable an,
as a history, an historical account, an harangue,
u his'tur'i, an'htstor' 'ikel akou'nt, an'hur'ang, in
which case be very careful not to omit the h.

my, Mel ml.

frig. Sizs, hiz hiz, iz. \

OTir. On r this is unchanged.

your. Yoo ' ryu, yer, yerr' .

her. Her u, er.

their. 2) hair dhu, before vowels dhai'rr', dherr\
dher', dhur'.

of. Ov uv,u, some old speakers use of.

WOUld. Wuod wd, d.

should. Shuod slid.

Or. Au, aur, or' au, aur', u, ur', the r' only
before a vowel, the au most frequent Similarly
for ' nor.'

for. Fau, faur', for' fatt, faur', fu, fur, the r'
only before a vowel.

that. JDhat dhut, dht ; the demontrative pro-
noun is always distinct, the conjunction and
relative almost always obscure, as : I know that,
that that that that man said is not that that that
one told me, El-noa- that, dht -that- dht-dhat man''
sed iz'nt 'dhat dht-dhat' wun toa'ld-mi.

On. On always clear.

do. D doo, duo, uo.

which. Which, wlch ivhch, wch ; in London,
wich wch are most common, but which whch
are considered more ' correct.'

who. Hoo hoo, huo, uo.

by. Bei generally kept pure, but becomes very
short.

them. JDhem dhm ; also m or em from the old
' hem,' but thought ' inelegant ' by those who are
unacquainted with ' hem.'

me. Mee mee, ml, mu, but mu is perhaps an
Irishism, as in, to me, from me, with me, too'mu,
from'mu, wldh-mu.

Were. Wal-r, wai-rr', wer' wer, wu.

with. Wldh, with wl, generally kept pure, with
is heard from older speakers.

into. In' too, intoo' in' too, In'tu.

Can. Kan kn.

cannot. Kan-ot, kaa-nt not changed.

from. Fromfrum.

as. Azs, az uz, z.

US. Us us.

sir. Sersu.

madam. Mad-am mam, mem, mlm, mum, m--?n,
m. Here m-^-m is a slur, m being continued with
a slight reduction of force, as noa-m--m,yes'm-~m.

Ex. 47. On Alternations of Strong and Weak
Syllables. This is properly rather for the speaker
than the singer, who is at the mercy of the com-
poser. This Exercise is confined to the 28 typical

Sec. XI, A. III.

ENGLISH EXERCISES W1TTT ACTUAL WORDS.

143

words of rnore than one syllable in Mr. Melville
Bell's " New Elucidation of tlie Principles of
Speech," 1849, p. 227, a work full of most useful
Exercises, but they are treated in a somewhat
different way. The laws of force accent, the
change of position of the strong syllable in course
of time, the differences between the English and
foreign systems of accentuation are not considered.
The words are written in common English Glossic,
the lengths of the vowels (not of the syllables) are
distinguished by the long, medial, and short marks.
The slurs are written, but the accent-marks are
omitted. After the word is placed a series of
numbers, giving the relative force of the syllables
according to a scale of nine grades, of which, how-
ever, only five are retained, which may be named
and compared with musical terms thus :

13579
faint weak mean strong violent

pp P mf f ff

In several cases different varieties of force are
given, showing different modes of reading.

2 syllables in a word.

wayward wdiwerd 7 3

away u~wdi 3 7

3 syllables in a word.

temperate tempu--r'et 715

remember r'l-^nembu 171

recommend r'ekw-$-mend 517

or, r'ekommend 757

4 syllables in a word.

temporary tempH^~r J er^ 7151

or, tempu-7-r'ii-r*'i 7111

contemporal kontempu-^el 3711

or, kiintempu-^-rel 1711

or, kontempoa-^-r'el 3731

contemplation kontempldishen 3171 or 3371

misunderstand misundu-^-stdnd 3317

or with mis emphatic 7315 or 7317

superintend seupti+r'tntend 5137 or 7135

5 syllables in a word.

necessariness neseseri-r-nes 73313

inveterately invetu-^-r'etli 17131

sometimes 37131

anatomical dnu-^-tomi-^-kel 31711

subordination subdudl-^-ndishen 15171, or 17150
or 3 3 1 7 1, or 3 1 1 7 1, or 7 1 1 5 1
never su-^-bdu, better sub-^-du.

epigrammatic epi-^-grvr^-mat'ik 51173, or 71153

or, ept~(jfram-~atik
6 syllables in a word,
unnecessarily unneseser 1-^-

71353

1117
51517

3733
or 7 5 3 3

disingenuously dtsin-~feneu-$~iisPi 5373

or 7 3 5 3

superabundantly seupu-~r'u~bundentli 5117

extemporaneous ekstempoa-^-r'dinius 3537

or 7 3 3 5

personification pu-^-soni-^-fi-^-kdishen 15117
or, p\

antipestilential anti-^-pest1-~lenshel

7 syllables in a word,
inconsiderableness ?

5371113

or, mkon-r- 6571113

invalitudinary mvali-r-teudi-i-ner'i 3517131

or 3 5 1 7 1 1 1 1, or 5 1 1 7 1 1 1

impracticability tmpr -akti-^-ku-^-bili-^-ti 3511711

or 5 5 1 1 7 1 1

indestructibility mdestrukti+bin+ti 5351711
intercolumniation \ntu-^-ki^-lumni^-dishen

5115171

8 syllables in a word,
incommunicability *

or, inkommeu
incomprehensibility tn-j-kompi

51511711
53511711

55151711

9 syllables in a word,
intercommunicability

511511711

It is thus seen that long words are practically
divided into several short words by subordinate
degrees of force, and that it is very rare to have
more than two faint or pp syllables together.

144

GERMAN EXEECISES.

Sec. XI, B.

B. GERMAN EXERCISES.

Ex. 48. On the Elementary German Speech-
sounds. The following words contain all the
German sounds, excluding the implodents, which are
considered a provincialism, and the post-aspirated
forms of the mutes, which are not acknowledged.
The learner should hear the following words
pronounced frequently by Germans, and then
endeavour to imitate their pronunciation with
the assistance of the explanations already given.

LONG YOWELS.

ee. Lieb lee'p, ihn ee-n, mir mee'r 1 (not mee-rr'),
lilie lee-lee-u, hin hee-n.

di. Ewig ai'v'eeky'h, gegen gai'gy'hen (or gai'geri],
dem dai-m. No trace of any vanish ai'y.

ae. Seele zae-lu, wer v'ae'r', thrane trae-nu, leben
lae-ben. In the middle of Germany all these
words are pronounced with ai', and the English
speaker is advised not to attempt to use ae' long
in any word, but before r' he may use his
visual e\

da. Wahr v'aa'r', sah zaa', schaf shaa'f, hahn
haa'n, name naa'mu. This vowel is very com-
monly pronounced ah', but as aa- is theoretically
assumed and always admissible, it may be
exclusively used by Englishmen.

da. Schoos shoa's, ohne oa'nu, sog zoa'gh, rose
roa-zu. No trace of any vanish oa'w must be
heard, and even ao- may be used for oa.

do. Schuh shoo-, fuss foo's, nur noo'r' (not noo' rr'),
ruthe roo-tu, muth moo't, thun too'n, gut goo-t.

ue. Miihe mueu, luge lue-gy'hu (or lue-gu], siihne
zue-nu, giite gue-tu, triibe tr'-ue-bu. Often
vulgarly pronounced as ee\

to. Goethe Geo'tu, ohl eo'l, hofe heo'fu, hohe heo'u,
hohnen heo'nen, hoflich heo-fieeky' 'h. Often
vulgarly pronounced as ai'.

SHORT VOWELS.

ie. Ich eeky'h, mit meet, bitte beet'u, sitz zeets.
This is often pronounced i in the North of
Germany, and hence Englishmen may use i, aa
more convenient to their organs.

e. Halten haal-ten, schaufel shaawfel. Occurs only
in such syllables, and even there is frequently
lost, or spoken as u\ as which it should be sung.

ae. Netz naets, senf zdet/f, bellen bdel-en, wasche
v&esh'u, hemd hdemt, strenge sh'traeng-u. This
may, however, always be pronounced e without
danger of ambiguity and without offence. No
sueh distinction as di, ae is now made.

da. Kalt Malt, flachs fldaTcs, mann mdan, f&ssfdas,
anfall da'nfdal or aa-nfdal. This is often pro-
nounced dh, but da is the theoretical pronuncia-
tion, and easiest for Englishmen.

do. Holtz, hdolts, voUfdol, von fdon, kopf /cdo^f,
schloss shldos In the North of Germany the
vowel is o, which may be always used by
Englishmen.

ii. Hiite hwtu, alles dal-us, wasser v'das-ur', and
all similar unaccented final syllables, but some
Germans use pure di or e.

uo. Und uont, hund huont, jung yuong, nuss nuos,
busch buosh. Some Germans say oo.

ue. Fiille fuel-u, kiisse kues-u, hiitte huet'u, riicken
ruek'en, miinz muents. In many parts of
Germany this sound is confused with ee or i.

oe. Bocke boek-u, holle hoel'u, rockchen roek-ky'hen,
kopfe koepf-u, In many parts of Germany this
sound is confused with ae or e.

DIPHTHONGS.

aay. Eile aaylu, eis aays, weise v'aayzu, hain
haayn, klein klaayn. In some parts of Germany
a distinction is made, and "ei" is pronounced
aey, or ey, but " ai " is pronounced aay ;

Sec. XI, B.

GERMAN EXERCISES.

145

but this is not usual. The theoretical pronuncia-
tion is always aay, which should be used, but ahy
is very common ; the English uy, a'y may be used.

oy. Eule oylu, freund froynd, leute loytu. This
is the pronunciation of many parts of Germany,
and the one generally used on the stage, but one
theoretical sound is aaue, which I cannot re-
collect to have heard, and another aoue, which
has equally escaped my notice. The greater
number of German speakers, however (all those
who use ai, ee for oe, ue], say ahy, which is not
recommended .

aaw. Aue aawu, grausam graawzdam, haus haaws,
for which sound the English uw, a'w (but not
daw, uuw, and never ew, aew) may be used;
many Germans say ahw.

ASPIRATE.

h. Hand hdant, is always the jerked gradual
glottid or hi, and is never omitted even by the
commonest speakers.

CONSONANTS.

p. Pack paak, pacht paakht, papst paa-pst.
Almost all German words beginning with p are
of foreign origin, the proper initial is pf ^a
descendant of p-fy, still said, as p-hjdak}, or b.

b. Band bdant, bald b&alt, bild beelt. For this and
for p in middle Germany the implodent b is
used ; no Englishman should imitate this error.

t (or rather f , but Englishmen need not trouble
themselves to make the difference, as no
ambiguity can arise from using t), tadel taa-del,
tand tdant, taugeu taawghen (or taawgeri], thier
tee-r' (not tee-rr"), theil taayl, theuer toyr' (not
toyrr'J, thor toa'r' (not toa-rr*}, trotz trdots ; the
custom of using t-hj, which should not be imi-
tated, has generated ts (or rather fs* , but the
difference is unimportant) which is a very
frequent initial, as zu tsoo, ziel tsee'l, zaun tsaawn,
zorn tsaor'n.

t (or rather a", see ), du doo, die dee, ding deeng,
durch duor'ky'h, durst diior'st; the implodent d,

common in middle Germany for both t and d,
should not be imitated.

ch. Deutsch doych, puntzsch puonch, patzsche
pdach'u, klatschen Jcl&ach'en ; uncommon, and
seldom used except at the end of words ; j does
not occur.

k. Kamm Jcaam, kase kai'ztt (or kwzit), kehren
kai-r'en (not Jcai'rr'en}, klappen kldap-en, knabe
knaa'bu, knopf knaopf, knie knee (a difficult
initial combination for Englishmen, to be care-
fully studied) ; the common post-aspirated form
Jc-hj before vowels should be avoided.

g. Gonnen goen-en, geben gai'ben (or gae-ben} y
gnaden gnaa'den (a common word,, in which the
difficult initial combination requires careful
study) ; the implodent g is not used.

f (This only occurs in the combination pf which
is now often pronounced pf; the letter " v " is
sometimes pronounced /' but the general custom
is to call it/), pfropf jo/V'oj5/",tapfer taapf'ur\

v\ Wie v'ee, weh v'ai, was v'aas, wollen v'aol'tn,
wulst tfuolst; in the North of Germany it is
said to become v, but I have never heard it.
Englishmen may, however, use v, and must never
use w or vw.

f. Fein&faaynt, f&nLfaawl, fest faest; very com-
mon, but v is unknown.

*. Nichts neeky'hts, reissen raaysen, fliisse flws'u
schmutz shmuots ; fluss or flusz fluos ; only used
at the end of words, or in the middle (when
written ss or sz) , never at the beginning.

z. Sie zee, sass zaa-s, sieben zee-ben, weise v'aay'ze ;
only used at the beginning of words, where it is
frequently changed to sz, and in the middle" of
words, where it remains pure.

sh. Schiessen shee'sen, scherzen shder'-tsen, schale
shaa-lu, schwimm. shtfeem, schluss shluos,
schmausen shmaawzen, schnee shna'f, schroff
shr'aof; the voiced form zh is unknown.

sh' (which need not be anxiously separated from
sh], stab stitaa'b, stoss sh'toa-s, spiel s/t'pee'l,
spass sh'paa-s, spur sh'poo-r 1 ; in the North of
Germany st-, sp- used to be said, but not on the
stage ; and now full sht-, shp- are used in con-

146

GERMAN EXERCISES.

Sec. XI, B.

versation even in Hanover; the final -sh't or -slit
is considered very vulgar, as in ist eesh't, furst
fuer' sh't, and must be carefully avoided.

y. Ja yaa, jagd yaakht, je yai, just yuost, jiingst
yuengst ; in ja yaa, the y often changed uncon-
sciously to yh, as yhaa- or yhyaa-.

ky'h. Mich meeky'h^ fechten faeky'frten, machte
maeJcy^h'tu, mochte moeky'h-tu, kirche keer'-ky'hu,
milch meelky'h, manch maanky'h. Only used
after ee, ae, oe, aay, oy, r' I, m, n, and in the final
-chen -ky'hen, as madchen mai'dky'hen, mai't-
ky'hen.

gy'h. Tilge ieefrgy'hu, folge faol-gy'hu, betriigen
betrue-gy'hen ; and. according to some writers, in
the prefix ' ge,' a,agerecln.tffy'he-raeky'ht', ge-ehrt
gy'he-avr't, but I generally heard g used in that
position ; in general gyti 'aener' 'aa-l, regierung
r'egy'hee-r'uong, &c., it is used or not at pleasure ;
g may always be said, as it is still in North
Germany, at the beginning and in the middle of
words.

Jch. Ach aa'kh, macht maakht, focht fdoJcht ; and
generally after aa, ao, oa; also according to
most writers, after 00, uo, aaw, where I hear
kw'h, as buch boo-Jcw'h, bucht buokw'ht, auch
aawkw'h, but this need not be attended to, so
that the simple boo'Jch, buokht, aawkh may be
used.

gh. Tage taa-ghu, gezogen ge-tsoa'ghen ; only used
between vowels, replaced by kh when final, as

betrog betroa'kh, betrogen betroa-ghen. In
North Germany g is used initially and medially,
and k finally.

I. Lamm laarn, lasst laest, elle ael'u.

m. Marz maer'ts, menge maeng-u, kamme kdem-u.

n. Nun noo-n, niemand nee-maant, henne hden'u.

ng. Singer zeeng-ur\ finger feeng-ur' ; some Ger-
mans say ngg and others ngk at the end of words
from which u has not been elided, as lang Idangg
or laangk, but lang' (for lange) Idang ; the
Englishman is recommended to use his easy ng
always.

r\ Reise r'aayzu, schier shee'r' (not shee-rr"),
schaar shaa'r 1 (not shaa'rr") commonly r'rh
when final, and very commonly ( r initial and
medial, and l r l rh final, none of which usages
need be imitated. The vocal English r does not
occur, or, at least, is not acknowledged.

The Examples in the Alphabetical Key to Ger-
man Pronunciation in Section XIV, and the
German songs, of which the pronunciation is given
in Glossic, in Section XV, will form sufficient addi
tional exercises for the purpose of learning to sing
German well enough to be intelligible, and not to
be annoying to educated ears. To speak or read
German properly requires much time and attention,
many teachers, and, if possible, residence in the
country.

Sec. XI, C

ITALIAN EXERCISES.

147

C. ITALIAN EXERCISES.

Ex. 49. On the Elementary Italian Speech-
sounds. The following words contain all the
Italian sounds, and the learner should hear them
often pronounced by Italians, if possible, from
from Tuscany or Rome. The Alphabetical Key
to Italian Pronunciation in Section XIV, and the
Italian songs written in Glossic in Section XV will
suffice for additional exercises to acquire the power
of pronouncing Italian, with sufficient correctness
not to be offensive in singing. For accurate pro-
nunciation much study is required.

VOWELS.

The Italian vowels when long are not so long as
the English, and when short not so short, they
are properly always medial. But Englishmen may
treat them as long when ending a strong syllable,
and as short otherwise. The accent marks in the
Examples are placed in accordance with this
convention.
ee. I ee, lirico lee-r 1 'eekoa, spiri spee-ree ; fisso

fees'soa, ninfa neen'faa, dimmi deem-mee.
ai. E ai, fede fai'dai, sete sai'tai, avere
aavai'r'ai ; alimento aalewnain'toa, burlesco
boor'lais-koa, capretto kaapr' ait'toa ; this sound
is quite pure, and without the least vestige of a
following ee or vanish.

ae. E ae, regola r'ae-goalaa, predica prae'deekaa,
straniere sfr' aanee-ae'rai ; bella bael'laa, dente
daen-tai ; Englishmen may use e, e, but the
sound in Italian is very much broader and more
marked.

aa. Fato faa-toa, raro r'aa'r'oa, bavaro baa-vaa-
r'oa; fatto faat-toa, cassa kaas-saa, tanto taan-toa,
fiamma fyaam-maa.

ao. Oro ao'r'oa, poco pao-koa, cosa kao'zaa, dopo
dao-poa ; sciolto shaol'toa gloria glao-r 1 ee-aa,
biscotto beeskaot'toa, torto taor'-toa ; Englishmen
may use au, o for this sound without danger of
ambiguity.

oz. Amore aamoa-r'ai (this oa-r', not oa-rr', nor
wr' must be especially noticed by Englishmen) ;

geloso jailoa-soa, filatojo feelaatoa-yoa ; the real
Italian sound is somewhat more like 00, having
probably the same position of tongue as oa, but
the lips in the position of oo ; but Englishmen
may be quite satisfied with oa.
oo. Cura koo-r'aa, scudo skoo-doa, ignudo eeny'oo'-
doa ; tutto too'toa, giunchi joong'kee ; the oo
does not become uo when shortened, but no
ambiguity will arise from using uo.

DIPHTHONGS.
There are no diphthongs with tight glides as in

English and German, but only properly speaking

with slurs ; whenever two vowels come together

the Italians are apt to reckon and feel them as one

syllable when the second vowel has not the stress.

Examples of all cases in which the first vowel is

strong are here given according to Valentini.

Short marks will be used to indicate the weak

vowel in the slurred combination.

aaai. Traere traa'air'ai, aere aa'aXr'ai, sufficiently
written traa'air'na^ aa'air'ai.

aaee. Daino daa-eenoa, musaico moozaa'eekoa,
sufficiently written daaynoa, moozaa'eekoa.

aaoa. Paolo Paa-oaloa, sufficiently writtenPacroaloa.

aaoo. Laura JLaa'oor'aa, fraude fr'aa'oodai, pausa
paa-oozaa, sufficiently written Laawr'aa,fr \uw-
dai, paawzaa.

aeaa. Beano bae-aanoa, oceano oachae-aanoa, suffi-
ciently written bae'aanoa, oachae-aanoa.

aeoa. Eolo Ae-oaloa, laureola laaoor 'ae-oaloa, suffi-
ciently written Ae'oaloa, laawr'ae'oaloa.

aeee. Teseide Taisae-eedai, Eneide Ainae-eedai,
sufficiently written Taisae-eedai, Ainae-eedai.

aeoo. Neutro nae'ootr'oa, feudo fae-oodoa, suffi-
ciently written naewtroa^faewdoa.

aoaa. Oasi ao'aasee, Roano JRao'aanoa, sufficiently
written ao'aasee, Roa'aanoa.

aoee. Eroico air' ao-eekoa, loico lao-eekoa, sufficiently
written air'oo-eekoa, lao-eekoa.

aoaa. Induano eendoo-aanoa, sufficiently written.
eendoo-aanoa.

148

ITALIAN EXERCISES.

Sec. XI, C.

000?. Influere eenfloo'ai'rai, puero poo-airoa, suffi-
ciently written eenjloo'air'ai, poo'air'oa.

ooee. Fluido floo-eedoa, Druido Dr'oo-eedoa, suffi-
ciently written jloo-eedoa, Dr'oo-eedoa.

coda. Influono eenfloo-oanoa, suo soo-oa, sufficiently
written eenjloo'aanoa, soo'oa.

eedd. Maniaco maanee-adkoa, diaci dee-ddchee, suffi-
ciently written maanee'aakoa, dee'aachee.

eeai,. Dieno dee-amoa, sieno, see-dmoa y sufficiently
written dee-ainoa, see-ainoa.

eeoa. Periodo pair' ee-oddoa, sufficiently written
pair'ee'oadoa.

The second method of writing best conveys the

effect of the sounds to English ears, with perhaps

the exception of naewtr'oa, faewdoa, for which

nae-ootr'oa, fae'oodoa might be better, because of

the looseness of the connecting glide.

CONSONANTS.

p. Parto paar'-toa, -paiH&paal-laa, lampo laam'poa.

b. Bardo baar''doa, ballo baal-loa, bruno br'oo-noa.

t (or rather t\ but the distinction may be neglected).
Tirato teer'aa'toa, tanto taan-toa, tutore tootoa-rai
(not tootao'rr'ai or tootawr'ai).

d (or rather d', but the distinction may be neglected) .
Detto dait'toa, debito dai'beetoa, addicere aaddee--
chairai.

eh (this is the English sound, which may always
be used, but sA', not sA, is also used in Italian, as
in face faa-sh'ai, facce faty'-sh'ai, which may be
pronounced as:) Face faa'chai, facce faat-chai;
duce doo-chai, bucce boot-chai ; bracia braa'chaa,
braccia braat'chaa.

j (this is the English sound, which is perhaps
always used, although z h' may occur). Gesto
jaes'toa, giudice joo f deechai, gia jaa, Giacomo
Jaa'koamoa.

k. Caro kaa-roo, cheto kai'toa, chiave kyaa-vai.
(In Tuscany there is a habit of using h in
in place of k, before the letter a, as haa-roa,
haa'mairaa, hao'za for kaa'roa, kaa'tneraa,
kao-zaa, caro, camera, cosa ; this fault must
be carefully avoided; Tuscans are also apt to
introduce h before every o, as confronto

k-hoanfr'-hoan-t-hoa, Livorno Leev-haor'-noa^
whence possibly the sailor's name Leghorn
Leg-hau-n ; in other respects, even the Tuscan
peasant speaks pure Tuscan, which is the literary
dialect of Italian}.

g. Gara gaa-r'aa, angusto anggoo-stoa, piaghe
pyaa-gai.

w (as a real consonant -this does not exist in the
language, but Englishmen may use it for 00,
as uovo ooao'voa or wao'voa), hence uomo
wao-moa, quale kwaa-lai, quindi kweewdee, guida
gwee'daa.

f. Fasti faas-tee, differire deef-fair'ee-r'ai.

v. Vasti vaas'tee^ vece vai'chai, avvi aavvee.

s. Sano saa-no, scala skaa'laa, verso vaer' m soa,
curioso kooT'ee-oa-soa (not koo'rr'ee-oa-soa).

z. Sbaglio zbaa-ly'oa, smorto zmaor'-toa, esatto
aizaat'toa, esito ae'zeetoa.

ts (or t's' or even *', but ts suffices). Zio tsee-oa,
balza baal'tsaa, Venezia Yainae'tsee-aa, bellezza
baillaet-tsaa, pozzo poat'tsoa.

dz (or d'z' or even z', but dz suffices). Zero dzae-r'oa,
zona dzoa'naa, zanzara dzaan~dzaa-r'aa, mezzo
maed'dzoa, gazza gaad'dzaa.

sh. Scemo shai-moa, fasci faash-ee, pesci paish-ee,
cresciuto kraishoo'toa, sciolto shaol'toa.

y (as a real consonant is not in the language, but
Englishmen may use it for ~ee, as jeri eeai'ree or
yai'ree, hence) ajo aa-eeyoa, sufficiently written
aa'yyoa, piano pyaa'noa, fioco fyao'koa, piti pyoo.

1. La laa, augelli aaoojael-lee, altro aal'tr'oa.

ly\ Gli h/ee, &g\iefee'ly'ai, scogli skoa-ly'ee.

n. Niuno nyoo'noa, no nao, non noan, mensa
maen'saa, anno aan'noa.

ntf' Ognuno oany'oo-noa, segni sainy'ee, ghigno
gee'ny'oa, bisogno beezao'ny'oa.

ng. Lungo loong-goa, vengo vaing-goa, anco aang'koa.

r\ Karo r'aa-r'oa, terra taer'r'aa, carne kaar'-nai ;
the trill of the tip of the tongue is always very
strong, the extent of vibration being considerable,
and the rapidity and duration of vibration
being also much more than in English ; it is
never omitted, and never made by the uvula.

Sec. XI, D.

FRENCH EXERCISE?.

149

D. FRENCH EXERCISES.

Ex. 50. On the Elementary French Speech-
sounds. The following words, chiefly from Theriat,
who is responsible for the marks of length over the
vowels, contain all the elementary sounds in the
French language. They must be heard very often,
and practised much, to be well understood. After-
wards the examples in the Alphabetical Key,
Section XIV, and the French songs which are
given below, will serve as exercises. But it will
be always difficult for any Englishman to sing a
French song in a way which would be even
tolerable to French ears. There is no force accent
in French.

VOWELS, LONG AND SHORT.

ee. titre teetreo, partie paartee, il prie eel pree,
epitre aipeetreo, synonyme seenaoneem.

ai. ete aitai, pays pai-ee, aiguille aigueee, je sais
zheo sai, esprit aispree.

ae. -procespraosde, complete koon'plaet, reve rdevai,
ils aimaient eelzaimde, meme mdem, peche pdeth,
reine rden.

aa. papa paapaa, fat faat, femme faam; this
sound is now more generally called a' in Paris.

ah. gras grdh, pas pah, casser kdhsai ; some
ortheopists, as Theriat, consider that there is
only one aa sound, and that the difference is
merely one of length, so that they would write
grda, pda, Masai.

ao. motif maoteef, hotte aot ; some ortheopists, as
Theriat, do not distinguish ao and oa except in
length.

oa. mots maux moa, beau boa, agneau aany'oa,
hote oat.

eo. fou/oo, toute toot, bou boo, voute voot.

ue. muse muez, vous eutes voozuet, hutte uet.

eo. je zheo, deux deo, ienfeo, neveu neoveo.

oe. peur poer, seul soel, neuf noef, peuple poepleo,
oeuf oef, boeuf boef. Some orthoepists do not dis-
tinguish eo oe, and many assign oe ioj'e, me, le, &c.

NASAL VOWELS, LONG.

aeri . pin, pain paeri ', temoin taimwaerf , faim, fin
faen', timbre taen'breo, dessein daisaen' , bientot
byaen'toa; Englishmen may use an'.

ahn'. dans dahn', tampon tahn'poan', Jean Zhahn',
trembleur trahn' bloer' , encre ahri'kr'eo; English-
men may use on'.

oan'. non noan', long loan', nom noan', compte
Jcoan't, umble oan' bled (Feline gives oen'bleo)
lumbago loan'baagao ; the English reader must be
very careful not to confuse oan with ahn', as it
is a common English fault to make them both on'.

oen'. brun br'oen', a jeun aazhoen' , parfum paar'-
foen', humble oen'bleo (also pronounced with oan\
see above) ; Englishmen may use un'. *
DIPHTHONGS.

aaee (these diphthongs arise only from the conver-
sion of ty' into ee or eey, or from medial ee},
gouvernail goovaer'naaee, faillir faaeeyeer' (or
faayyeer', y being doubled), medaille maidaaee,
Versailles Vaer'saaee.

aeee. reveil r'aivaeee, reveiller raivaeeeyai (or
raivaeyyai, taking y as double), Marseilles
Maar'saeee.

oeee. oeil oeee, recueil reokoeee, accueillir aakoeeeyeer'
(or akoeyyeer' with double y}.

ueee. lui lueee, ruisseau r'ueeesoa, ennui ahn'nueee,
y>\\n.Q plueee, appuyer aapueeeyai, tuyau tueeeyoa.
See p. 49i.

ueaen'. Juin Zhueaen', quinquagesime kueaen'-
kwaazhaizeem.

CONSONANTS.

p. papa paapaa, cap kaap, nappe naap, appareil
dapaar'aeee ; English p; instead of the recoil
p-h, the French often use^o.

b. baton bdhtoan', lobe laob, bombe boan'b ; Eng-
lish b, the recoil is bed.

t' (always dental, but the English may use theii
usual t without hesitation), titre teetreo, the tai t
un grand home oen' g^ahn't aom.

150

FRENCH EXERCISES.

Sec. XI. D.

d' (always dental, but Englishmen may use their
d without hesitation), donner daonai, raide raed,
reddition raeddeeseeoan' (or raedeesyoan').

ktf (some French writers, but not all, recognise
this sound before the sounds of ii, ai, eo, oe, ue ;
as qui ky'ee. queue ky'eo, but Englishmen are not
recommended to try it).

gtf (those who admit ky' also admit gy' in similar
situations, as gueux gy'eo, but Englishmen are
not recommended to try it.)

k. carte kaar't, crainte kr'aen't, un rang eminent
oen' rahn'k aimeenahn', quatre tcaatr'eo, coq kaok,
etiquette aiteekaet, quoique kwaak.

ft. garqon gaar' soan' , gueule goel, second seogoan',
Eclogue aiglaog, exister aigzeestai.

w (properly oo forming an initial oo diphthong with
the following vowel) , joaillier zhwaayyai, moelle
mwdal, poelier pwdalyai, coeffer kwaafai, soie
swaa, bois bwaa, voir vwaar" ; ouais woe, fouet
fwde, foene fwaen, il temoigne eel taimwaeny' ;
oui wee, embabouiner an' baabweenai ; employer
ihn'plwaayyai, royaume rwaayyoam. Bedouin
Baidwaen', soin swaen\ point pwaen' .

/. carafe kaar'aaf, boeuf boef, phrase fraaz.

v. vivre veevree, veuve voev, neuf ecus noev aikue.

i. son soan\ abces aabsae, i&qon faasoan' , ambition
Chn' beesyoan' , soixante swaasahn't.

z. zele zdel, rose r'aoz, il vous aime eel vooz dem,
sixieme seezyaem, deux enfants deoz ahn'faJin'.

sh. cheval sheovaal, chercher shaer'shai, achat
aashaa, schisme sheezmeo.

zh. je zheo, jardin zhaar'daen', jujube zhuezhueb,

y (properly ee forming an initial ee diphthong with
the following vowel) , diable dyaableo, ciel syael,
pitie peetyai, reliure r'eolyuer', nous agreions
nooz aagr" aiyyoan' , vous aidier vooz aidyai, nous
priions noo pree'eeyoan', que vous priiez keo voo
pree-eeyai ; ai'eux aayyeo (or aaeeyeo), pai'en
paayyaen' (or paaeeyaen') ; les yeux laez yeo,
rayon raiyyoan', payer paiyyai, nous payons
noa paiyyoan', nous payions noo paiyyeeoarf nous
appuyons nooz appueeeyyoan' , nous appuyions
nooz appueeeyeeoan' .

I. le leo, eleve ailaev, ft. feel, syllabe seellaab.

tn. me tneo, meme maem, ame dam, pomme paom.

n. ne neo, navet naavae, annote aannaotai, inne
eennai, ennemi aenmee.

ny 1 . agneau atny'oa, ignoble eenyaobleo, vigne
veeny' ', Boulogne Boolaony'.

i f . or aor\ notre naotreo, le notre leo noatreo, amer
aamder', art dar* , arranger aar'ahn'zhai. The
greater number of Frenchmen in the North
" grasseyent" fgr" 'asaeeej , that is, use the uvular
l r in place of the trilled r'. -This is not allowed
on the stage, and should be carefully avoided.

QL08SIC INDEX.

XII, GLOSSIC INDEX,

Explanation of the Arrangement. The inten-
tion of this index is to refer to every sound
explained and described in the preceding pages, to
shew in which of the four languages it occurs, and
to give specimens of all the glides with which it
is found in English. For German, Italian, and
French, examples are given in Exs. 48, 49, and 50
of Section XI. (pp. 144-150), and the incidental
sounds were illustrated when first described.

For the vowels and diphthongs the examples are
arranged in the alphabetical order of the Glossic
spelling from the vowel or diphthong forwards, so
that all the final combinations are found in the
order of the table on p. Ill, with the introduction
of the single consonants. Only one or two ex-
amples are given of each final combination. This
list of words will form a complete series of key
words for English, and also a complete series of
exercises on the glides from vowels to consonants.
The singer should practise them as such, singing
them at first to long and then to very short notes,
repeating the same word many times in succession,
and making the glides quite distinct, if any
difficulty is felt, the word must be dissected and
practised in part, thus chainjd, ai, ain, ainj, ainjd,
chainjd ; ai, chai, ain t chain, ainj, chainj, ainjd,
<hainjd.

For the consonants, they are first given as
initials, and as parts of initial combinations, in the
order of the Table on p. 110, before all the vowels
and diphthongs with which they are found, and
then some (not all) cases of the medial and double,
and one or two final combinations are given. Final
combinations proper are found in abundance with
the vowels.

The Glossic spelling of the English words agrees
with that in the Short Key, Section III., pp. 12
and 13.

The letters e. g. t. /. after an initial Glossic
letter or combination, shew that it occurs in the
English, German, Italian, and French languages
respectively, and the absence of any of these letters
shews that it does not occur in the corresponding
language.

The initial combination is in thick capital letters,
when it is one of the sounds recognised in the
Short Key, when it is incidental it is printed in
Italic capitals, but any letters with marks of
length over them are printed small.

After the number of a page a means first, and
b second column.

162

GLOSSIC INDEX.

Sec. XII.

LETTERS AND COMBINATIONS IN ALPHABETICAL ORDER.

A, e, pp. 315, 32a ; its rounded form, p. 325 ;
may be sung as a', p. 340. Strong and short:
abb ab, scab skab, slab stab; scabbed skabd,
blabbed 5/050*, stabbed stabd ; dabs dabz, crabs
kr'abz ; hatch, hack, match mack ; snatched snacht,
scratched skr'acht ; add ad, plaid plad, sh&d.shad;
lads ladz, dad's dadz ; baffle bafl, snaffle snaf-l ;
bag bag, fag ; wagged wagd, lagged lagd ; brags
br'agz, swags swagz ; badge baj, Madge Maj ;
badged bajd ; crack krak, whack whak ; axe aks,
wax waks, whacks whaks, thwacks thwaks, waxed
wakst, act akt, fact fakt, whacked whakt, cracked
krakt; shall shal ; acts akts, facts fakts, pacts
pakts ; Alp Alp ; Alps Alps ; am am, jam jam,
cram kr'am; shammed shamd, rammed ramd ;
lamp lamp, cramp kr'amp ; cramps kr'amps ;
cramped kr'ampt ; shams shamz, flams Jlamz ; an
an, plan plan, tan tan ; hand hand, planned pland,
tanned tand ; lands landz, strands str'andz ; manse
mans; banter ban'ter, cant kant ; cants kants,
recants rikan-ts ; man's manz, fans fanz; hang
hang, sprang spr'ang, sang sang ; hanged hangd ;
sank sangk, hank hangk ; hanks hangks ; thanked
thangkt ; pangs pangz ; map w0ji?, taps taps, arrow
0r'-o0, carry &0r'i, narrow nar'-oa ; gas ^0s, wassail
was-el ; asp 0sp ; ash ash, crash kr'ash, clash klash,
smashed smasht, thrashed thr'asht ; pat j?0, that
dhat, sprat spr'at ; rats r0te, cats &ffs ; hath A0A ;
have A0v, has 70z. Weak and short in open
syllables, so written in Grlossic to shew either u or
a final may be used at pleasure, p. 535 and 540,
pica pei-ka, idea eidee'a, area ai-rr'ia, sofa soa-fa,
acacia akai'shia, drama draa-ma. Long and strong,
provincial, p. 320. Ex. pp. 1180, 1195, 1295.

A\ e. i. f. Pp. 320, 335, 340, 360; may be used
for a, p. 31a. Often used long or short in the
following and similar words, where also aa long or
short may be used, and where a long and short
should not be used, p. 340 ; may be always used in
singing for a. Chaff cha'f chaaf, half ha'f haaf,
calf '&0'/ kaaf, laugh la'f laaf, laughed la' ft laaft,
craft kr'a'ft kr'aaft, shaft sha'ft, shaaft quaffed

kwa'ft kwaaft ; aft a! ft aaft ; shafts sha'fts shaafts,
crafts kr'a'fts kr'aafts ; ass as aas, pass pa's paas,
grass gr'a's gr'aas, mass ma's maas ; ask a'sk aask,
bask ba'sk baask, casks ka'sks kaasks, masks ma'sks
maasks ; rasp r'a'sp raasp, grasps gr'a'sps gr'aasps ;
passed pa'st paast, mast ma'st maast ; path pa'th
paath, bath ba'th baath, wrath r'a'th raath ; path's
pa'ths paaths, paths pa'dhz paadhz ; halve ka'v
haav, calve ka'v kaav ; halved ha'vd haavd ; calves
ka'vz kaavz; command koma'n-d komaan'd, plant
pla'ntplaant (sometimes plant}, haunt ha'nt haant
(and haunt}.

A' i, spoken e. form of ei, p. 440, d-\ is a good
singing form, p. 445.

A'uo, a good form of ou, p. 47.

A'y, a form of a't, p. 46a.

AA, e. g. f. i., p. 335, 360. May be used for '
or ah, p. 39a. Strong and long : ah ! aa ! paths
paa-dhz, half haa'f, laugh laa'f, calm kaa~ m, palm
paa-m, balm baa-m; calmed kaa-md ; jaunts
j'aa'nts, haunts haa-nts; haunch haa'nch; command
komaa'nd, demand dimaa'nd ; demands dimaa-ndz ;
chance chaa-ns, prance pr'aa'ns, plant plaa'nt, can't
kaa'nt, sha'nt shaa-nt ; plants plaa'nts, ass aa's,
class klaa's, grass gr'aa-s; cask kaa'sk, bask baa'sk;
casks kaa-sks, hasp haa'sp (often hasp], clasps
klaa'sps ; mast maa-st, cast kaa-st ; masts maa^sts ;
path paa-th, bath baa f th, wrath raa'th ; path's*
paa'ths ; halve haa'v, halved haa'vd, calves kaa'vz.
In all these cases the vowel is scarcely more than
medial, and may be taken short, or a' (which see)
may be used long or short, and some speakers use
a long and short. If we include those cases in
which aar (which see) is pronounced as aa simply,
the list would be much increased. Strong and
short aa does not occur except as a variety in the
above words. Weak and medial rather than short
aa, occurs only before these letters, or as a reduc-
tion of aar in weak syllables, as steadfast sted-faast,
partake paatai'k, particular paatik'euler, Carthusian
Kaatheu-zhien. Ex. pp. 1140, 116.

Sec. XII.

GLOSSIC INDEX.

153

AA, flatus driven through the position for aa,
p. 560.

A A, slightly nasalised 00, as in America and
South Germany, p. 440.

AAai or AA-ai, i. slurred diphthong, pp. 450,
147*.

MAO, a lip glide, p. 555.

AAee, g. i. f., a form of ei, p. 445, 450 and 5, or
aa-ee, slurred in Italian, p. 450 ; aa-ee- i. even
diphthong, p. 450.

AAee, g. nasalised form of ei, p. 440.

AAl, g. and also an e. form of ei, just admissible
in speech, p. 440, 00-* is the proper form for
singers, p. 445. Not to be tolerated for oi, p. 455.

AAi, e. nasal form of ei. Not to be tolerated,
p. 440.

AAod, i. slurred diphthong, pp. 450, 1475.

AAoo, i. slurred diphthong, pp. 475, 1475.

AAuo, general g., admissible e. form of ou,
p. 470, 5.

AA-R, e. murmur diphthong aa-u, with a per-
missive trill r 1 ; the u and trill r' are generally
omitted, and the simple vowel aa used, so that
aar signifies the permission to say aa, aa-u, or
aa-ur* , the first being most common, p. 505.
Always long and strong. Are 00T, garb gaa-rb,
barbs baa-rbz, arch aa-rch, starch staa'rch, starched
staa'rcht, bard, barred baa-rd, guards aaa-rdz, scarf
slcaa-rf, scarf's sJcaa'rfs, large laa'rj, enlarged
enlaa'rjd, stark staa-rk, arks aa'rJcs, marl maa-rl,
snarls snaa-rlz, barm baa'rm (when the ur' are not
pronounced, barm, balm are both baa-m), charms
chaa-rmz, barn baa-rn, tarns taa-rnz, sharp shaa-rp,
carps Jeaa-rps, sparse spaa-rs, swarth swaa-rth,
(some say swau-rth], starve staa'rv, scarves skaa-rvz,
bars baa-rz. When a word beginning with a vowel
follows, aa-rr' ar aa-r' is always used. See aa-rr\

AA-RR', e, p. 1370. This may be either 00V or
aa-ur 1 , and is most usually 00V ; it occurs only in
strong syllables and before a vowel. Barring
hn-a-rr" ing , starry staa'rr'i, sparring spaa'rr'ing.
"When a word beginning with a vowel follows 00r,
r' is always inserted ; don't jar it doa-nt jaa-rr'-it,
far off/00-n-'-o/. Hence numerous errors p. 515.

AA-u, e. murmur diphthong, p. 505, used for
00r (\vhich see) ; sometimes aa with a vanish, to be
avoided as it is mistaken for aar' .

AAue, g., theoretical pronunciation of g. ' eu '
in eule aaue'lu (generally oi'lu), pp. 445 and 455,

AAuo, e. form of ou, p. 470.

AAW, e. g. f. i. common representative for
either 0000, 00^0, as forms of ou, p. 475.

AA-W, representative of 00-00 or 00^0 as forms
of OM, p. 475.

A A Y, e. g. f. i. common representative for
either aaee or 002 as forms of ei, p. 460, as 00'^ is
of aa-ee or aa'i.

,AAY, nasalised form of AAY, -= t aaee or
4 00T, p. 440, 5.

AA-Y, representative of aa-ee or aa-i as forma
of ei, p. 460.

AE, e. g. f. i., p. 320 ; its rounded form, p. 325.
In e. only in strong syllables, where e is more
general in the South of England. See e for ex-
amples in English. May be sung as e, pp. 390 r
1470.

AEaa, i. slurred diphthong, p. 1475.

AEee, e. faulty form of ei ; i. slurred diph-
thong, pp. 465, 1475 ; f . generated by loss of
ly\ p. 465.

AEi, e. faulty form of ai-y, meaning ai', p. 460.

AEN', f. nasal, not eng or ang, but the last is
intelligible, pp. 400, 1495.

AEoo, e. faulty form of ou, p. 475; i. slurred
diphthong, p. 1475.

AEuo, e. faulty form of ou, p. 475.

AE-uo, e. faulty form of ou, p. 475.

AEW, e. representative of either 0000 or aeuo,
p. 475.

AEY, i. and f., p. 465.

AH, g. f . and Scotch, used for aa, pp. 335, 360 ;
may be sung as 00 in f .

AHee, g. common form of ei, p. 445 ; ah-ee, with
long ah and conspicuous glide, a common German
form of oi, p. 445.

154

GLOSSIC INDEX.

Sec. XII

ANt, e. faulty form of ei, p. 440, also a g. form,
p. 44*.

AHN', f. nasal, resembles ong, which is intel-
ligible, pp. 400, *, 1496.

AHoo, g. form of ou, p. 47*.

AHuo, e. faulty form of ou, p. 47*.

AH-uo, e. faulty form of ou, p. 47*.

AHW, representative of either ahoo or ahuo,
p. 47*.

AH' W, representative of either ah'oo or ah'uo,
p. 47*.

AHY, representative of either ahee or ahl,
p. 460 and 480.

AH'Y, representative of either ah'ee or ah'i,
p. 460.

AI, e. g. f. i., p. 300, without vanish, see ai'y,
p. 460, for vanish. Not to be confounded with
ey, ay, aay, &c., p. 30*. Used for eo by many
Germans, p. 31*. May be sung as e, p. 390.
Strong and long : eh, ai, bay bai', obey oabai', day
dai', they rfAar, hay hai', may war, say *0r, way
wai', whey whai' ; babe *0r*, babes bai'bz ; aitch
0i-cA ; aid #i'^, aids 0ro'z / swathe swai'dh,
swathed swai'dhd, bathes bai'dhz ; safe sai'f ;
waifs wai'fs, chafed chai'ft, vouchsafes vouchsai'fs ;
plagae plai'a, plagued plai'ad, plagues plai'gz ;
age ai'j, engage engai-j ; enraged enrai'jd; ache
ai'k, sake sai'k, rakes rai'ks, baked bai'kt ; ale ai'l,
pale, pail pai'l, railed r'ai'ld, failed fai'ld, ails
ai'lz ; aim ai'm, game aai'm, lamed lai'md, games
gai-mz; sane sai'n, plane, plain plai-n, planed
plai-nd, strange str'ai'nj, change chai-nj ; ranged
ravnjd; paint pai'nt, quaint kwai'nt, saints sai-nts,
pains, panes pai-nz, tape ta-ip, grape gr'ai-p, shapes
shai-ps; ace ai's, race rat'*; rate rai't, gates yai^s,
eighth avtth, eighths ai'tths; wraith rai'th, wraiths
rai'ths; rave rai'v, saved sai-vd, graves grai-vz,
graze grai'z, gazed gai'zd. Some speakers use ai'y
in all these words, some even make the ai short,
and change it into e, ae, as ey, aey ; to be avoided,
pp. 460. 133*. Weak, and medial or short, e. i.,
shamefaced sharmfaist, aorta aiau'rta. Exercises,
pp. 113*, 115*, 129*, 133*.

AI< flatus through the position for ai p. 56<z.

Al-aa, i., evenly balanced, unaccented diph-
thong, p. 450.

AI, e. faulty form of ai'y, meaning ai, p. 460.

A't, e., a common form of ei, p. 440.

APee, e. form of the vanish ai-y, p. 460.

aiJEO, lip glide, p. 55*.

An, e. faulty form of ai-y, p. 460.

AI'i, e. form of the vanish ai'y, p. 460.

Am, e. murmur diphthong, with or without r',
p. 50* ; a form representing e-u or e-ur at pleasure;
generally e-u, in the mouths of some speakers ae-u
or even a'u; the r' is generally omitted. Strong
and long : air, ere, e'er, heir ai'r, bare, bear bai-r,
chair chai'r, there dhai'r, fare, fairy0rr, hare, hair
hai'r, ne'er nai'r, share shai'r ; pared pai'rd, scarce
skai'rs, scares skai'rz. When a word beginning
with a vowel follows air, r' is always inserted, see
ai'rr'.

AI-EE', e., representing e-ur', and only used
before a vowel, pp. 1300, 136*. Strong and long :
wary wai'rr'i, sharing shai'rr'ing, fairy fai-rr'i,
we'll share it wee-l shai-rr'-it, to pare an apple too
pai'rr' un ap-l, a pair of shoes u pai'rr 1 uv shoo'z.

ALu, e. faulty murmur diphthong, for e-u, see
air, p. 50*.

A'tu, e. murmur triphthong, form of ei'u, see
eir, p. 520.

AIuo, e. very faulty form of ou, p. 47*.

AIWioT ai'uo, e. faulty form of ou, p. 47.

AIY, g. provincial ei for ai-ee, p. 46*.

AI'Y, e., or ai with a vanish, pp. 46 and 55*.-
Some speakers use ai-y for ai- on all occasions,
except before r or in weak syllables ; this is most
frequent when ai ends a word or phrase, when ai
comes before t, great varieties are found, from pure
e- long, through pure ai' long, to ai'y, aiy, aey, ay,
and almost uy, a'y. The examples to ai should be
read in both ways, with ai' and ai'y, but never
with the aey, ay forms, pp. 129*, 133*.

An', e. substitute for aen', p. 400.

AO, e. g. f. i., p. 350, *, 360, may be sung as au,
p. 390. As the vowel never occurs in received
English except before r, it will be treated under
oar, which see

Sec. XII.

GLOSSIC INDEX.

155

AO, flatus through the position for ao, p. 56a.

AOee, a faulty form of oi, p. 456; ao-ee, the only
i. form, p. 460.

-40t, a faulty form of oi, p. 456.

AOoo, a faulty form of ou, p. 470.

AO-u, e. murmur diphthong, real form of oar,
p. 506.

AOue, a theoretical form of g. ' eu,' as eule
mue'lu^ p. 446.

AOuo, a faulty form of ou, p. 470.

AO'uR', the real form of o0rr', which see.

AOW, a representative of 0000 or 0owo, p. 476.

yfOr, f., p. 466.

ATI, e., p. 350, 360. May be used for o and ao,
p. 39. Strong and long : awe 0w, daw daw, jaw
jau'j caw kaw, law 0w, maw maw, gnaw naw,
paw j90w, raw r'0w, saw saw, shaw shaw, taw taw,
thaw thaw ; daub dawb, awed 0wo', laud J0W0*,
lauds lawdz ; cough &aw/, hawk hawk, hawks
hawks ; hall, haul A0w, bald, balled, bawled
bau'ld, fallen fau'ln, halt hawlt, salt sawlt, malt
mau'lt, halts haw Its, all, awl 0w, crawls kr'awlz,
awn 0ww, awns 0wwz, haunt hawnt (or haa'nt,
ha''nt) haunts hawnts, ought, aught 0w, caught
kawt, drought drawt, broth brawth (or broth}.
Some persons use aw in off 0w/, coffee kawjfl,
office awfis, often awfn, dog dawg, cross krau's,
and in America, even long lawny, but these
and even cough, broth, are perhaps oftener pro-
nounced with o, as of, kof-i, of'is, ofn, dog, kros,
long, kof, broth. When r is not pronounced, all
examples under aur belong to this case, see aur.
Weak and long, august (adj.) augus't, austere
austee-r, augment (v.) augmen't. Exs., pp. 114a,
1166, 1306, 1310.

A U, flatus through the position for au, p. 56a.

A Uee, g. form of oi, p. 456.

AUi, e., a common form of oi, especially before
z, p. 456, not to be tolerated as a form of ei, p. 44a.

A Uuo, e. very faulty form of ou, p. 47a.

Auo, e , a good form of ou, p. 47a.

ATJ-R, e. representing aw, awu, aur 1 , or awur',
at pleasure, but most generally 0w, and most rarely
wur', p. 506. Strong and long: abhor abhawr t

or awr (when strong, before a vowel, awr' ; before
a consonant, the same as awe 0w), nor nawr (when
strong, before a vowel, nawr' ; before a consonant,
the same as gnaw waw), drawer drawr (a sliding
box, distinct from drawer, one who draws), orb
awr6 (generally rhymes to daub dawb], orbs
awrbz, orchard awrcherd, torch tawrch (or toa-rch],
scorch skau'rch (or skoa-rch], scorched skawrcht
(or skoa'rcht), lord lawrd (generally not disting-
uished from laud lawd], lords lawrdz, wharf
whawrf, dwarf dwawrf, dwarfs dwawrfs, scorn
skawrn, born bawrn, horns hawrnz, horse hawrs,
north nawrth, nok"ths nawrths. Some persons pro-
nounce all the words in or in this way, as tore
tawr, more mawr, pork pawk, important impawr-
tent, but oa-r is considered better. See oar for
examples. Weak and long, ornate aurnai't, ordain
aurdai'n, orchestral aurkes-trel, organic aurgan'lk,
orthography aurthog-rufi, orthoepy aurthoa'epi. In
such cases aur is seldom anything but au, Ex.,
p. 1376.

A V-u, the murmur diphthong in aur, which see,
p. 506.

A TTuo, faulty form of ou, p. 470.

AUW, representative of either auoo or auuo,
faulty forms of ou, p. 476.

AUT'W, representative of either 0woo or awuo,
faulty forms of ou, p. 476.

A UT, representative of either auee or aui, forms
of oi, p. 460.

ATJ'Y, representative of either awee or 0w?,
forms of oi, p. 460.

A W, representative of either 000 or auo, faulty
e. forms of ou, p. 476.

AT, representative of either aee or at, faulty
forms of ei, p. 460.

A' T, representative of the a'ee or a'* forms of ei,
p. 46a.

B., e. g. f. i., p. 636. Initial before vowels:
bat 6a, back bak, baa 6aa, bard baa-rd, bate, bait
bai't, bought bawt, bet bet, beet, beat bee-t, bite
bei-t, Bute Bewt, bit bit, botch boch, boat boa-t, boy
boi, boot 600 , bout bout, but but, bull buol. Initial
before consonants : black 6Ja&, blame blai-m, bleat

156

GLOSSIC INDEX.

Sec. XII.

blee-t, blight bleit, bliss blis, blown bloa-n, blur bier,
bran br 1 an, braid br'ai-d, broad br'au'd, breadth
bre'dth, breed br'ee-d, bright br'ei't, Briton Br'it-n,
broach br'oa-ch, brood br'oo'd, brow br'ou, buoy
bwoi (or boo-1, booy, sometimes boi}. Medial be-
tween vowels : dubbing dub-ing, blabber blab-er,
webbing web'ing, fibber fib'er, sobbing sob'ing,
robber rob-er, snubbing snub-ing, baby bai-bi, gaby
gai'bi, booby boo'bi, imbibing imbei-bing, bribery
brei'bur'i. Final, ending words, after vowels :
cab Jcab, babe bai-b, daub dau'b, dab dab, glebe
glee-b, bribe brei b, tube teu-b, bib bib, Bob Bob,
robe roa'b, tub tub. In practising final b, guard
against a very marked voice recoil b-h', or a
marked flated recoil, as b-ph ; and if a recoil is
necessary, 'use the click bp. Double, between
vowels: tub-bottom tub-bot-m, slob-bib slob-bib,
Bob beat him Bob bee-t him, a robe bought u roa-b
bau-t, where is the cab bound ? whai-r iz dki kab
bound ? Between the two b's of a double b, no
recoil of any kind is admissible.

B, g. implodent form of p or b, p. 64#.

BM' , e. form of m and b, with a cold in the head,
p. 670.

1 BR, g. voiced lip trill, with loose lips, p. 660.

CH, e. g. i., p. 790, not tsh, but probably a con-
sonantal diphthong, ty'sft, p. 800. Initial, before
vowels : chat chat, charge chaa-rj, change chai'nj,
chess ches, cheese chee-z, chine chei-n, chin chin,
chop chop, choke choa-k, choice chois, choose choo-z,
chouse chous, chump chump. Ch does not occur
initial before consonants. Medial between vowels
(it is rather ty\ which is medial, glided on from
the preceding vowel, and gliding on to the follow-
ing sA') : patching pach-ing, fetching fech-ing,
teacher tee'cher, richer rich'er, botching boch'ing,
broaching br'oa'ching, slouching slowching, crouch-
ing krowching, clutching kluch'ing. Final, after
vowels : batch bach, fetch fech, stitch stich, botch
boch, roach r'oa-ch, vouch vouch, touch tuch.
Double, between vowels (ch does not occur in the
true double form ty'ty'sh", because ty* does not so
occur, we have, therefore to take tch, which will

experimentally shew that the initial of ch is not t),
that cheese dhat chee-z, that choice dhat chois, flat
cheese fiat chee-z, what charge whot chaa'rj, he hit
Charles hi hit Ohaa-rlz, a spoiled chop u spoilt chop-
Compare also abbotship, grab a chip ab'utship,
grab-uchip, hat shop, that chop hat shop, that chop,
it shews, it chose, it shoa-z, it choa'z. Ex. p. 1250.

CH', a mute form of ch, p. 790.

CH'SH', a possible form of ch, p. 795, 800.

D, e. (the g. i. f. form is d'), p. 69*. Initial be-
fore vowels : dash dash, dart daa-rt, dame dai'm,
daughter dawter, debt det, deed dee-d, dight deit,
duke deu-Jc, ditch dich, dot dot, dote doa-t, doit doit,
doom doo-m, douse dous, Dutch Duch. Initial, be-
fore consonants : dram dr'am, drain dr'ai-n, dredge
drej, dream dr'ee-m, drive dr'ei-v, drip dr'ip, drop
dr'op, drone dr'oa-n, droop droo-p, dwell dwel,
dwarf dwau'rf, dwindle dwin'dl. Medial, between
vowels : radical rad'ikel, madder mad er, sadder
sad'er, aider ai'der, solder sawder (or soa'der),
broader brau'der, wedding wed-ing, breeder breeder,
idol ei-del, bidding bid'ing, nodding nod-ing, boding
boa'ding, crowding krotrding, rudder rud-er. Final,
after vowels : mad mad, made, maid mai'd, Maude
Maud, bed bed, bead bee-d, bide bei'd, bid bid,
rod r'od, road r'oa'd, rude r'oo'd, vowed voud,
mud mud. In practising final d, guard against
a very marked voiced recoil, d-h 1 , or a marked
flated recoil, as d-th; if a recoil is necessary,
use the click dt. Double, between vowels, .
mad-doctor mad'dok-ter, head-dress hed'dres, a
loud drone u loud droa-n, he made drums hi
mai'd drumz, rammed down ramd doun. Between
the two d'a of a double d no recoil is admissible.

D, e. provincial implodent for t, p. 693.

t D, a d made with the under part of the point of
the tongue against the palate, p. 695.

D\ g. f. i. form of d, with tongue against the
teeth (sonant of dh] for which Englishmen may
use d, used provincially before r , p. 700.

Q D', g. implodent for f or d', p. 69*.

DH, e. voiced form of th, p. 685. Initial before
vowels: that dhat, they dhai, there dhai-r, them

Sec. XII

OLOSSIC IND1

157

dhem, these dhee-z, those dhoa'z. Initial dh does
not occur before consonants. Medial dh between
vowels: bather bavdher, bathing bai'dhing, weather,
wether wedh-er, together toogetfh-er, gather gadh-er,
seething seedh-ing, writhing reidh'ing, whither
whidh-er, thither Midh'er, bothered bodh-erd,
loathing loa'dhing, soothing soo-dhing, mouthing
mou'dhing. Final, after vowels : swathe swai'dh,
breathe bree-dh, loathe loa-dh, clothe kloa-dh, soothe
soo-dh, blithe bleidh. In these finals it is customary
at the end of clauses, to shorten the length of dh,
and glide into a final th, as swai-dhth, bree'dhth,
kloa-dhth, soo-dhth, p. 935. Double, between vowels :
clothe them kloa-dh' dhem, soothe them soo'dh dhem,
I loathe those ei loa-dh dhoa-z. In this doubling
the insertion of th is inadmissible. Ex., p. 122&.

D'H, a lisped form of z, p. 700.

DHTH, e. final, as breathe br'ee-dhth, see p. 935.

DW,e. labialised form of d, perhaps generally
used for dw, p. 830, as dw'el, dw'au'rf for dwelt
dwau'rf.

DT', e. palatalised form of d, used as the initial
of the combination expressed by /, which see,
p. 800.

DY'SIT, e. final form of j in the pause, p. 800.

DZ, as an initial, the form used by Englishmen
in place of the Italian d'z', p. 960.

b'Z', i., for which Englishmen use dz, pp. 970,
1483.

E, e. g. (in f. i. and strong g. syllables ae is
used, and also frequently in e. strong syllables;
all the following strong e'a may be read as ae),
p. 305, used for oe by many Germans, p. 315 ; used
for ai in singing, p. 390. Never long in strong
syllables, except in murmur diphthongs written as
air, which see. Short and strong: ebb eb, web
web, ebbed ebd, webbed webd, ebbs ebz, webs webz,
fetch fech, wretch rech, fetched fecht, head hed,
wed wed, said sed, tread tred, breadth bredth,
breadths bredths, weds wedz, left left, bereft biref-t,
egg eg, beg beg, keg keg, leg leg, peg peg, begged
begd, begs begz, wedge wej, pledge plej, wedged
wejd, neck nek, wreck r'ek, necks neks, wrecked
r>ekt, sects sekts, ell el, bell bel, fell fel, knell nel,

sheU shel, yell yel, Elbe Elb, Welsh Welch, weld
weld, held held, shelf shelf, pelf pelf, twelfth
twelfth, twelfths twelfths, elk elk, elks elks, elm
elm, whelm whelm, help help, helps helps, else els,
melt melt, felt felt, health helth, wealth welth,
healths helths, shelve shelve, elves elvz, sells selz,
hem hem, hemmed hemd, hemp hemp, hemp's hemps,
tempt tempt, tempts tempts, hems hemz, pen pen,
den oVw, hen Am, men men, then o'Am, blench
blen-ch, quenched kwencht, wrenched r'encht, end
end, friend fr'end, mends mendz, thousandth
thou-zendth, thousandths thou-zendths, revenge
rwen-j, avenged avenyd, hence hens, pence pens,
offence ofen-s, expense ekspen-s, went went, lent lent,
rents r'ents, presents (v.)pr'izen-ts, tenth tewA,tenths
tenths, hens henz, pens^wz, step step, steps steps,
wept wept, crept krept, leaped fcp, adepts udep'ts,
depth <fe^A, depths depths, chess cA<?s, cress 7<;>-Vs,
guess ges, less &s, yes yes, chest cA<?s, jest /*#,
guessed ges-t, jests jes-ts, mesh wesA, enmeshed
enmesh't, wet w^^, get ^, pet jt?e#, met met, nets
0fo, jets ,/e^s, breath breth, breaths breth's. The
vowel e does not occur weak and short, except in
the forms ed, el, em, en, ez, which see; it occurs
short and distinct in some weak syllables, but
rarely, as ek and es: shipwreck ship-rek, fulness
fttol'nes, deafness def-nes, ceaseless see-sles, mattress
mat-res, egress ee'gr'es. Ex., pp. 1180, 120, 120o,
1295.
E' ', e., as in e'r, a form of er, p. 345, p. 39#.

ED, e. final, weak, varies between ed and id,
may be Vd, p. 141, as wicked wik'ed, wik-id,
wik'Vd, dotted doted, dot-id, dot-id, compare pitted
pit'edjjpit'id, and pitied pit-id only.

EE, e. g. i. f., pp. 28a and I. 295. Used for ue
by many Germans, p. 315. Sung as i, p. 39.
Strong and long : glebe glee-b, glebes glee-bz t
bleach blee-ch, reach r'ee-ch, bleached blee-cht, weed
wee-d, knead, need nee'd, needs nee-dz, breathe
br'ee-dh, breathed br'ee-dhd, breathes, br'ee'dhz, thief
thee-f, brief br'ee'f, leaf lee'f, beef bee'f, briefs br'ee-fs,
league lee-g, leagued leeg-d, leagues lee-gz, siege
see'j, liege lee'j, besieged bisee'jd, leak, leek lee~k t

158

GLOSSIC INDEX.

Sec. XII.

meek mee-k, seek see-k, teak tee-k, week wee-k,
speak spee-k, reek, wreak r'ee-k, weeks wee-ks,
reeked ree-kt, eel ee-l, heal, heel hee-l, steal, steel
stee-l, meal mee-l, peal, peel j5^-^, teal tee- 1, veal
?/, weal wee- 1, wheel w hee-l, wield wee- Id, wheeled
whee-ld, field fee-Id, fields fee-ldz, eels er/z, seals
8e7z, seamed, seemed see-md, creams kree-mz, ween,
wean wee-n, lean lee-n, keen <?rw, dean 0> - w,
weaned wee-nd, deans dee-nz, deep <&<?;/?, weep
wee-p, leap for/?, leaps forjw, fleece ^rs, Greece
Gree-s, east *, ceased <?, eat ee-t, wheat
whee't, wreath r'ee'th, sheath shee-th, sheath's
shee-ths, leave lee-v, reeve ree-v, grieve gree-v,
grieved gree-vd, greaves, grieves gree-vz, grease
gree-z, greased gree-zd. Ee never occurs strong and
short in English, being replaced by i. "Weak and
long it occurs rarely, in closed syllables, as:
thirteen ther-teen, fourteen foa-rteen, fifteen fifteen,
diocese dei-oasees. Weak and short, seldom occurs
in actual use, although many attempts are made
to enforce it, but is generally replaced by i, see
p. 280; elicit eelis-it, illicit ilis'it, illis'it, elude
eeleu-d, eeloo'd, illude ileu-d iloo-d, illeu-d illoo-d,
allegation al'eegai-shen, alligation al'igai'shen,
element el-eement el'iment el-ement (the last is most
common, el-umunt is heard, but generally repro-
bated). On the difficulty of singing ee at a high
pitch, or keeping long ee and long i distinct, see
p. 4ft. Ex., pp. 113a, 115ft, 128ft.

E'E, e. provincial throat glide, same as tee,
p. 55ft.

Q EE, flatus through the position for ee, p. 560.

'E>E, whispered ee, p. 56ft.

eeAA, i. close diphthong, usually taken as yaa,
pp. 450, 148ft.

eeALee, i. triphthong, usually taken as yai'y,
p. 50a.

EEoo, i. diphthong, and faulty e. form of eu,
after consonants, p. 48ft.

eeOO, e. form of eu after consonants, p. 480,
general i. form of eu, p. 48ft.

EE-R, e., pp. 50ft, 136ft, murmur diphthong with
er without r' ; a form representing i-u or i-ur 1 at

pleasure, generally i-u, never eer\ and ee'u, ee-ur 1
are archaic or provincial. Always long and strong.
Ear ee'r, beer, bier bee-r, cheer chee-r, dear, deer
dee-r, feaxfee-r, sphere sfee-r, gear gee- r, here, hear
hee-r, leer lee-r, blear blee-r, mere mee'r, near nee-r,
pier, peer pee-r, rear r'ee-r, seer, sere, sear, cere
see-r, sheer shee-r, tear (s.) tee-r, veer vee-r, weir,
we're wee-r, year yee'r, cleared klee-rd, beards
bee-rdz, fierce fee-rs, pierce pee-rs, tierce tee-rs, fears
fee-rz, spheres sfee-rz, clears klee-rz. When a word
beginning with a vowel follows ee-r, r' is always
inserted, see ee-n*.

EE-ER', e., see p. 136ft, representing &', as
distinct from eer\ which is Scotch, American, and
foreign ; used only before vowels. Always long
and strong. Earring ee-rring, hearing hee-rr'ing,
cheery chee'rr'i, endearing endee-rr'ing, fearing
fee'rr'ing, gearing gee-rr'ing, leering lee'rr'ing,
peering pee-rr'ing ; do you fear it 0*00 eu fee-rr'-it,
peer into itpee-rr' in-too it, sheer ignorance shee-rr'
ig'nurens.

EE-u, e. murmur diphthong, p. 50ft, a faulty
form of eer, which stands for i-u.

EE-uE\ e., a faulty form of eerr\ which stands
for i-ur'.

El, e. g. i. f., an unanalysed form of diphthong,
having varieties in e., and other varieties in
g. i. f. For e., see p. 440 ; for g., see p. 44ft ; for i.,
see p. 450 ; for f., see p. 45ft. The singer may"
take uy, o?y, aay, aay, as suits him best ; the
speaker should avoid 00^, and whether he chooses
uy, or a'y, always use it. Strong : I, eye ei (but
aye aay}, buy, by, bye, b'ye bei, die dei, fie fei,
Guy Gei, high hei, sky skei, lie, lye lei, ftyjlei, sly
slei, my mei, nigh nei, pie pei, rye, wry rei, dry
dr'ei, fry/rVi, cry kr'ei, pry pr'ei, sigh sei, shy shei,
sty, stye stei, thigh thei, thy dhei, vie vei, Wye Wei,
why whei ; ide eid, bide ft#i0*, chide cheid, died,
dyed deid, guide geid, hide heid, skied skeid, lied
leid, glide gleid, plied pleid, slide sleid, ride r'eid,
bride breid, dried dr'eid, fried f r'eid, pride pr'eid,
stride str'eid, sighed, side seid, shied sheid, tide,

Sec. XII.

GLOSSIC INDEX.

159

tied teid, vied veid, bides beidz, chides cheidz,
guides geidz, hides heidz, glides gleidz, slides sleidz,
rides r'eidz, brides br'eidz, sides stficfc, tides teidk,
blithe bleidh, life fet/, knife wei/, rife reif, strife
str'eif, wife ww/, life's tei/s, kuife's w0i/s, wife's
weifs, dyke <fci&, like leik, pike j9ei&, tyke tei&,
dykes deiks, likes fei&y, pikes peiks, liked feiAtf,
file /<?, mile meil, Nile JV<ei, pile .petf, rile reil, tile
tei/, vile 0ei, wile weil, while wheil, child cheild,
filed feild, mild mft?, piled peild, riled r'ttfri, tiled
teild, wild, wiled weild, wilds weildz, files /<?ife,
miles meife, piles j90ife, wiles ?&, chime cheim,
disme deim, lime /eiw, climb, clime kleim, slime
sleim, mime meim, rhyme, rime r'eim, grime gr'eim,
crime kr'eim, prime pr'eim, cyme seim, time, thyme
teim, chimed cheimd, grimed gr'eimd, climbs, climes
kleimz, chimes cheimz, rhymes r'eimz, crimes
kr'eimz, times teimz, bine bein, chine chein, dine
dein, thine dhein, fine fein, line lein, mine mein,
nine nein, pine pein, brine br'ein, shrine shrein^
sign, sine sein, shine sA^m, Tyne Tern, vine vein,
wine tmn, whine whein, bind ^i^, find feind,
hind heind, kind keind, lined foiwd, blind bleind,
mind, mined 7/w?, pined pined, rind r'eind, en-
shrined enshr'ei-nd, signed seiwc?, wined weind,
whined wheind, binds beindz, finds feindz, hinds
heindz, blinds bleindz, minds meindz, ninth neinth,
ninths neinths, chimes cheimz, dines deinz, nines
neins, pines peinz, shrines shr'einz, signs *iwz,
shines sheinz, vines v^iwz, wines weinz, whines
whelm, pipe joeijo, ripe r'eip, gripe greip, stripe
str'eip, type teip, wipe wip, pipes peips, gripes
gr'eips, stripes str'eips, types teips, piped peipt,
striped str'eipt, wiped weipt, ice eis, bice beis, dice
^i, lice leis, mice m^i*, nice neis, rice r'^i*, price
pr'eis, entice enters, vice vm, iced eist, priced
pr'eist, enticed entei'st, bite belt, fight /Htf, height
heit, kite Ai, light fo, blight bleit, flight /#,
plight pleit, slight, sleight *fo, might meit, night
^i^, rite, right, write, wright reit, bright br'eit,
fright freit, sprite spr'eit, sight, site seit, tight
feif, wight weit, white wheit, I've eiv, chive cAeiv,
five /<?iy, hive heiv, alive ulei~v, rive r'eiv, drive
dr'eiv, strive str'eiv, shrive shr'ei'v, thrive thr'eiv,

vfiveweiv, hived hevod, shrived shr'eivd, wived weivd,
fives feivz, hives heivz, rives r'eivz, drives dr'eivz,
strives streivz, thrives thr'eivz, wives weivz, eyes
eiz, buys beiz, thighs theiz, skies skeiz, flies ^eiz,
pies peiz, dries dr'eiz, fries fr'eiz, pries pr'eiz, shies
*Am. Weak : idea eidee'u, civilise sivileiz, civili-
sation sivileizai'shen (or sivilizai'shen), ironical
eir'on'ikel, isochronous eisok'r'unus, direct deirek-t
or direk't), divert deiver't (or divert}. Ex., pp.
123, 1330, 133*.

J, e. faulty form of ai-y, meaning *, p. 460.

EI'ER, e., a dissyllable to be distinguished from
ei'r, which see, p. 54i ; buyer bei-er, dyer dei-er,
higher hei-er, liar lei'er, plier plei-er, slier slei'er t
nifher nei-er, briar brei'er, drier drei'er, frier, friar
fr'ei'er, prier pr'ei'er, sigher mvr, shier shei'er,
tier ^i-<?r. "When a word beginning with a vowel
follows, r' is always added.

JSIEBR', form of eiur', p. 52,b.

EI'R, e., a murmur triphthong, eiu t with or
without r\ generally without, to be distinguished
from ei-er, p. 52a. Long and strong : byre beir,
dire deir, hire heir, lyre &ir, mire meir, sire mr,
shire *A0ir, tire teir, hired Atfirtf", tired teird, wired
weird, lyres leirz, sires seirz, shires sheirz, tires
teirz. When a word beginning with a vowel
follows, r' is always added, see ei'rr\ Ex., p. 137*.

EI-KR', e. seep. 52a, representing ei-ur', in one
syllable : direr dei'rr j er, hirer hei'rr'er hiring
hei'rr'ing, tiring tei'rr'ing, wiring wevrr'ing. Ex. r
p. 137*.

El-UK, e. dissyllable, p. 52*.

EJ, e. weak final, p. 140*, representing -ay, -ej r
or -/, or perhaps -17, the usual '-age,' which i
differently pronounced according to frequency of
use, Cabbage kab'ej (often kab-ij), herbage her-
bej, bondage bon'dij, baggage bag-ej (often bag-ij],
luggage lug-ej (often lug-ijj, foliage foa-liej vbut
carriage kar'~ij, marriage mar' -if always), cartilage
kaa-rtilej (when quite new to the speaker, kaa'-
tilai-jj, pillage pil'ej, tillage til-ej, village vil m ej\
damage dam-ej, image im-ej, pilgrimage pil-grimej,
manage man'ej (these last words are usually pil'ij,

160

GLOSSIC INDEX.

Sec. XII.

til'ij, vil-ij, dam-ij, im'ij, pil-grimij, man-ij}, spinage
spin-ej (most commonly spin-if, and sometimes
spin-ich}, courage kur'-ej (usually kur'-ijj, usage
ewzej (not eu-zich], sausage sos'ej (or sos ijj , savage
savej (or savijj, language lang'wej (lang-gwej,
lang-waij, lang-gwaij, lang-wij, lang-gwij, lang-wich,
lang-gwich are all to be heard), voyage voi'ej (often
voy'J , knowledge nol-ej, college kol-ej.

EL, e. g., see p. 1390. Weak syllable, obscurely
pronounced, approaching ul or ul rather than ael,
al, seldom clear el, never clear al, or ol ; to be sung
as ul or u'l, with a slur from u or u' to I ; corres-
ponding to e. final unaccented -al, -el, -ol, but not
usually -il, and not heard in -ful. Cymbal, symbol
sim-bel, radical rad-ikel, pedal ped-el, medal med-el,
lineal lin'iel, real ree-el, regal ree-gel, frugal fr'oo- gel,
prodigal pr'od-igel, labial lai'biel, genial jee-niel,
trial tr'e'vel, essential esen-shel, celestial siles-tiel,
vial vei-el, decimal des-imel, animal an'imel, dismal
diz-mel, ordinal au'rdinel, cardinal kaa'rdinel, final
fei-nel, opal oa'pel, liberal lib-ur'el, temporal tem--
pur'el, rural r'oo'rr'el, nasal nai'zel, capital kap'itel,
vestal ves'tel, usual eu'zheuel, oval oa-vel ; parcel
paa-rsel, infidel in-Jidel, angel ai-njel, satchel
sack- el, camel kam'el, trammel tr'am'el, pommel
pum'el, flannel flan* el, channel channel, kennel
ken-el, funnel fun-el, tunnel tun-el, colonel, kernel
Jcer-nel, chapel chap-el, gospel gos-pel, quarrel
Tcwor'-el, squirrel skwir'-el, weasel wee-zel, chisel
chiz'el, morsel mau-rsel, tassel tas-el (or taa-sel,
tau-seT), gravel gr'avel, travel travel, duel deu-el,
level level, fuel feu-el, shrivel shrivel, hovel
huvel, shovel shuvel, novel novel, cruel kr'oo-el,
vowel vowel, hazel hai-zel, pencil pen'sel (QY pen'sil),
council koun-sel (or kou-nsil, to distinguish from
counsel kou-nsel), idol ei'del, carol kar'-el, pistol
pis'tel. This final -el is not very distinct from
final -I, forming a syllable, except after a vowel,
and after t, d; compare idle, idol ei'dl, ei'del, for
the first the point of the tongue remains on the
palate from d to I, in the second it is removed for
a very short period. The effect in each case is
more of a glide up to I than a fixed vowel, p. 74a.

Whenever el is distinctly pronounced a certain
effort is necessary, indicated by el-, as novel- for
novel, the speaker emphasing the fact of his clear
pronunciation. This would be the case in g. also,
not in i. or f. In English, however, the change to
il is then common, as jewel j'eu-il, cruel kroo-il,
novel novil.

EM, e. g., seep. 1395. Weak syllable, rather urn
or u'm than aem or am, never distinctly am or em ;
an indistinct glide on to m followed by an m.
When em is distinct, a kind of emphasis ia
necessary in e. and g., shewn by an accent
(see el at end), thus poem poo,- em-, in which
case the change to im is sometimes heard, as
poa-im. Weak : madam mad-em (but mad- am is
heard in shops), quondam kwon-dem, buckram
buk-rem, balsam bau'lsem (some say bal-sem],
stratagem strat'ujem (some say strat-ujem-}, anthem
an-them, emblem em'blem, problem problem, poem
poa-em, item ei-tem (some say ei'tem-}, freedom
free'dem, dukedom deu'kdem, kingdom king-dem y
thraldom thrau'ldem, seldom sel'dem, random
r'an-dem, Christendom Kris-endem, wisdom wiz'dem,
fathom fadh-em, axiom aks-iem (or ak'shiem^
ak'shem), venom ven-em, modicum mod'ikem, petro-
leum pitroa-liem, memorandum mem-ur'an-dem,
museum meuzee-em (in America meu-ziem is at least
sometimes heard), medium mee-diem, odium oa-diem,
opium oa-piem, delirium dilir' -iem, Elysium Ilish'-
iem, oakum oa'kem, alum al'em, pendulum peri*-
deulem (or pen-deulum-}, asylum asei'lem, laudanum
lod-nem, tympanum tim-punem, conundrum kunun'-
dr'em, decorum dikoa-rrem, quorum kwoa'rr'em,
spectrum spek'tr'em, 'forum foa-rr'em (as a Latin
wordybaTr'ww), ultimatum ul'timai'tem, pomatum
poamai'tem, stratum strai'tem (some say straa-tum'},
quantum kwon'tem, factotum fak-toa-tem, vacuum
vak-euem Most of these words occur also with z
after them, as kingdoms king-demz. The am is
often indistinct in diagram dei-ugr'am, anagram
an-ugr'am, epigram ep-igr'am, parallelogram par'-
alel-oogram (often par-u-^-lel'u-^-grem among
mathematicians), monogram mon-oagr'am ) tele-

Sec. XII.

GLOSSIC INDEX.

161

gram tel-igr'am (the last word, though so new, is
so common that it is fast becomming tel'igr'em).
The em is also often distinct in diadem dei-udem-,
requiem rek'wiem- (some say ree'kwiem'}, apothegm
ap' oat hem\ The clearness of the final syllable
depends greatly on the unusualness of the word,
and upon the position of the previous accent.
The servant's pronunciation of mem is always
indistinct, yes-mem, noa'mem, not yes'm, noa'm,
when the lips are separated for an instant, but
sometimes the mouth is not opened, and the m
having produced its final effect, is quickly reduced
in force so as to become nearly inaudible, and
then very rapidly touched again, thus y
-^-m, see slur, pp. 45, 1875.

EN, e. g., see p. 1395. Weak and final, more like
a glide on to n than any vowel ; difficult to dis-
tinguish from vocal n, except after a vowel p, b,
t, d, k, g, where the vowel causes an opening of
the lips, or withdrawal of the tongue for an
instant. The singer always takes u'n, see p. 77#.
A very common pronunciation in final -an, -en,
-tion, -sion, -ance, -ence, &c., only a few instances
are given. Turban ter'ben, publican publi'ken,
ocean oa-shen, European Eu-rr'oapee-en (not
Eu-^r' oa-pien, as sometimes in America), magician
vnujish m, musician meuzish'en, physician faish'en,
guardian gaa'rdien, ruffian ruf'ien, seaman see'men
(seamen see-men-'}, foreman foa-rmen (foremen
foa-rmen-'}, horseman hawrsmen (horsemen hau-rs-
men-'}, churchman cher-chmen, yeoman yoa-men,
woman wuom'en (women wim'in], German Jer'men,
footman fuot-men (footmen fuot-men-') human
yheu-men, layman lai-men (often lai'man-'), clergy-
man kler'jimen, countryman kun'trimen, gentleman
jen'tlmen (gentlemen jen'tlmen''}, Satan Sai'ten
(Sat- en, Sai-tn, Sat-n, satin sat-inj, veteran
vet-uren, puritan peu-rr'iten, deafen def-en (or
def-n), stiffen stif-en (or stif-n], roughen ruf'en (or
ruf-n), heathen hee-dhen, lengthen lengk'then (or
lengk-thn], alien ai'lien, sullen sul'en (or sul-n, or
stil-en-' 1 }, specimen spes-imen, chosen choa-zen (or
choa-zn], often open (or ofn, some say au-fn},

soften sof-en (or sof'n, some say aau-fn), raven
rai-ven, even ee'ven, eleven ileven (or el- even, or
with final vri}, riven riven (or rivn], heaven heven
(or hevn), beacon bee-ken (or beek-n), deacon dee-ken,
pardon paa-rden (or more often paa-dn}, pigeon
pi-jen, luncheon lun-chen, flagon flag-e>i legion
lee-Jen, religion rilij-en, lion lei- en, battalion
batal-yen, dandelion dan'dilei'en, bullion buolyen,
onion un-yen, union eu-nyen, occasion okai-zhen,
adhesion ad-hee-zhen, decision disizh-en, division
divizh-en, convulsion konvul'shen, mansion man'-
shen, pension pen'shen, explosion eksploa'zhen,
version vcr-shen, session sesh'en, mission mish-en,
education ed'eukai-shen (some say ej-ookai-shen],
creation kriai-shen, action ak-shen, election ilek--
shen, junction jungk-shen, auction au'kshen, ambi-
tion ambish-en, petition pitish-en, motion moa--
shen, inscription inskrip-shen, portion poa'rshen
(some say pa.u'shen, rhyming with) caution
kau-shen, revolution revoaleu-shen, connexion
ktmek-shen, oblivion oablivyen, felon fel-en, colon
koa'len, chaldron chaa-ldren (or chau-dr'en], environ
envei-rr'en (iron ei-ern is often merely ei-en, com-
pare Ion), venison ven'zen, (vewizen is orthographi-
cal only), unison eu-nisen, poison poi'zen (or poi'zn],
prison priz-en (or priz'n), lesson, lessen Us- en (or
les-n], amazon am'uzen, horizon Jtoar' ei-zen (not
hor''izen}. Most of these words add on z, as
missions mish'enz. Elegance el' iff ens, vengeance
ven-jens, semblance semblens, nuisance nfu-sens,
substance sub-stem, circumstance ser-kemstens (some
say ser'kumstans-' or ser' 'kumstans-} , distance dis'-
tens, license lei-sens, innocence in-oasens, cadence
kai-dens, impudence im-peudens, science sei-ens,
obedience oabee-dyens, experience ekspee'rr'iens,
patience pai'shens, silence sei'lens, violence vei'oalens,
vehemence vee'umens (some try to say vee'imens',
vee-emens"), influence in'flooens (often in'Jlooens, in
two syllables), sequence see-kwens ^often see-kwens''},
consequence kon-sikwens.

EO. g. f. see p. 310, in g. always long and
strong ; in f . often peculiarly short &nd indistinct
eo, p. 945; may be sung as oe, p. 39a. Ex.
pp. 144, 149a.

162

GLOSSIC INDEX.

Sec. XII.

eOE, possible labial glide, beginning with lips
wide open, and then gradually closing, p. 55b.

EB, e., see p. 53. Strong and long by the pro-
longation of the vowel sound, either simply as
u-, e'-, or modified by a more or less raised point of
the tongue, as u' tl r, but always with permission to
addr'. To pronounce clear er', aor' , ur', uur',is
quite un-English, but is heard in Scotch ; and a
very light form of r' is heard in the provinces, as
also ae^r, uur. All these sounds are disagreeable
in received speech. Sometimes an attempt is made
to distinguish "er, ur" as u-, uu-, or u', e'-, written
er, ur; this is not recommended, see p. 53a. It
must be remembered that er represents a real long
vowel, with a permissive trill r' after it, and that
this trill is quite inadmissible where no r'
originally existed. Err er, burr ber, fir, fur fer,
her her', cur her-, blur bier", slur sler, purr per-,
sir ser, were wer, herb herb (erb is old), curb
kerb, disturb disterb, verb verb, herbs herbz, curbs
kerbz, birch berch, kerchief kerchif, lurch lerch,
perch perch, search serch, searched sercht, burred
berd furred ferd, heard herd, occurred okerd,
blurred blerd, slurred slerd, purred perd, absurd
abserd, preferred priferd, word wer-d, sherd sherd,
words werdz, serf, surf serf, turf ter'f, serfs serfs,
urge erj, dirge derj, merge merj, surge serj,
turgid terjid, verge verj, irk erk, birk, Burke
berk, jerk jerk, lurk lerk, clerk klerk (as some
say, but klaa-k is more common), smirk smerk,
perk perk, shirk sher k, Turk Terk, work werk,
quirk kwerk, Turks Terks, works werks, dirks
derks, kirks kerks, earl erl, churl cherl, iuxlferl,
girl gy'erl (or ger-l, but gy' is more common, gal
is very common indeed, and some say gael, but
guu'l, guu- (( rl, guu\rl are very disagreeable), hurl
her'l, pearl, purl perl, whirl wherl, earls er'lz,
hurls her'lz, germ jer'm, worm wer'm, germed
Jer'tnd, wormed wer'md, germs ger-mz, worms
wermz, earn ern, burn ber'n, churn chern, fern
fern, learn lern, turn ter'n, yearn yern, earned
er-nd, ernt, burned ber'nd, bernt, churned cher-nd
(never chernt], learned lernd, lernt, turned ternd

(never ter'nt], yearned yernd (never yernt], learns
lernz, churns chernz, chirp cher-p, chirps cher-ps,
hearse her-s, curse ker-s, nurse ner's, terse ters,
verse ver's, worse wer-s, cursed kerst, nursed ner-st,
worst wer-st, earth er'th, birth ber'th, dearth der'th,
girth ger'th, hearth her'th (much more generally
haa-th), mirth mer'th, Perth Perth, worth wer'th,
births berths, girths ger'ths, serve ser'v, served
servd, serves servz. Weak, final, commonly -u or
-', without any trace of r', which, however, is
always inserted before a following vowel, but
should never be inserted when there was no
original 'r,' as is commonly done for ease of
speech, pp. 53-4. When w-- occurs in speaking,
weak er should not be written in Glossie, because
when er is written it implies that -f-r' may be
said. Hence ' again ' must not be written ergai'n,
although if r' were not sounded simply ^t-^-(/a^n
weuld be heard. This termination is so common
that only a few examples are given. Cedar see-der,
calendar kal'ender, vinegar vin-iger, familiar
fumil'yer, friar frei'er, robber rob'er, member
mem'ber, number num'ber, cider sei'der, preacher
pree-cher, feather fedh'er, whether whedh'er,
weather, wether wedh-er, soldier soa'ljer, rapier
rai'pyer, furriei/Mr'^r, courtier koa'rtyer, prisoner
priz'ner partner paa'rtnvr (not paa'rdner, a common
mistake), skewer skewer (ofter skeur], employer
emploi-yer (sometimes emploi-er), elixir ilik-ser,
meteor mee'tyer, anchor angk'er, author aifther,
warrior wordier, honour on-er, favour favver^-
labour lai-ber, liquor lik'er, grandeur, grander
gr'an-der (some say gr" an- dyer, gr'an'jer, gr'an-deur,
for the first), sulphur sul'fer, murmur mer-mer.
Most of these words add on a z, as furriers fur'ierz.
When a vowel follows pure w-j-r' or w'-f-r' is
heard, as ever, every ever, evur'i, a soldier of
fortune tt-$-sooa-ljit~r' uv fau-rteun. Ex. pp. 132,
136a, 138a.

EBB', e., see p. 53a, 1360. Strong, before vowels
only: erring err' ing (often erring], burring
ber r* ing (not burning], incurring inker r' ing ^or
inkur'-ing}, slurring slerr'inff, preferring prifer-
r'ing (or pr if erring).

Sec. XII.

GLOSSIC INDEX.

163

EU, e. i., see p. 48, b. An unanalysed form,
having several permissible pronunciations, as yoo
strong and weak, ywo strong, both at the beginning
of words, and yoo strong and weak in middle of
words, and 100 strong and weak after consonants
which glide on to it, Ex., p. 1355. These forms are
not usually distinguished, in the mind of the
speaker, and are written by the same sign. Strong
and long: you, yew eu, chew cheu, dew deu, few
feu, gewgaws geirgauz, hue, hew heu (more cor-
rectly yhioo, written yheu, but few speakers are
conscious of yh], Jew Jeu, cue, queue keu, lieu
leu (not loo, but blue bloo, not bleu, flew floo, not
fleu, glue gloo, not gleu, clue, clew kloo, not kleu,
slew sloo, not sleu), mew meu, new neu (not noo),
snew sneu (not snoo), pew peu (not peeoo, rue r'oo,
not r eu, brew br'oo, not br'eu, drew dr'oo, not
dreu, grew gr'oo, not gr'eu, crew &r'oo, not &r'0w,
strew str'oo, not streu, shrew shr'oo, not sArew and
not shr'oa, sr'od), sue sew (not soo nor sAoo), thew
A<?, view veu, whew wheu (really a whistle),
Bude Bewd, nude newd, pewed pewd, sued sewd,
tewed tewd, viewed vewd, febrifuge febTifewj, huge
heuj properly yheuj or yhiooj), duke dewk, puke
pewk, dukes dewks, pukes pewks, puked pewkt,
yule, you'll ewl, exhume ekseu'm (or eks-hewm,
meaning eksyhewm, rather pedantic), fume fewm,
Hume Heum (meaning Yhewm), luminary lew-
mineri (or loo'miner' i), fumed, few md, fwca.es fewmz,
dune deu'n, June Jewn, lune leu'n (not loo'ri),
impugn impeu'n, tune tewn (not too-n nor chewn),
impugned impeu-nd, impugns impewnz, use eu-s,
abuse ubews, deuce dews, juice jews, used ewstf
(was accustomed) ewzd (employed), Bute Beu't, lute
lewt (or ?oo ^), mute mewt, newt wew^, repute
ripeu'tj suit s#w (not soo*^ nor shoo't), mutes
meu-ts, newts newts, suits sewts, you've ewv.
Weak, long or short : unite eunei-t, unique eunee'k,
usurp euzer-p, ubiquitous eubik-witus, uranium
eurai-niem, utility eutiliti, monument mon-eument,
document dok'eument, vacuum vak'euem, residuary
rizid'euer'i, mortuary mawrteuer'i, usual ewzheuel,
annual an-euel, virtual ver-teuel, tribulation trib-eu-
lai'shen, virtue ver-teu, value val-eu, continue

kuntin-eu, issue ish-eu (or ish'oo, not is-eu), tissue
tish-eu, statue stat-eu. Ex., pp. 124a, 132, 135^.
E-U, e., the real form of air, p. 5Qb.

EITE, e., representing the murmur triphthong
eu'u, followed at pleasure by a trilled r' , p. 52b.
Strong and long: ure ewr (compare ewer ewer)
endure endewr, cure keu'r, lure lewr (or loo-r),
immure immewr, inure inewr, obscure obskewr
(compare skewer skewer) pure pewr, sewer sewr
(recently, formerly shoa-r, compare sure shoo-r,
sewer, a waiter, is sewer, pursuer persewer, not
persoo'er, nor pershoo-er], mature mutewr, your eur,
inured inewrd. Weak : verdure ver-deur (often
ver-jer), figure fig' eur (generally Jig'er), injure
iti'jeur (usually in'jer), perjure per'jeur (usually
perjer), pleasure plezh-eur (usually plezh-er), mea-
sure mezh'eur (usually mezh'er], treasure trezh-eur
usually trezh'er), pressure presh-eur (usually
presh-er), fissure fish-eur (sometimes .Jis-eur, usually
Jish'er, the same as ' fisher,') feature fee'teur
(usually fee-cher], nature nai'teur (usually nai- cher),
temperature tern-pur uteur (not tem-pr'ncher},
literature lit-ur'uteur (not lit-r'ucher), stature
stat'eur (not stach'er), manufacture man-eufak-teur
(not man- if ak" cher), fracture frak'teur (often frak--
cher], conjecture kunjek'teur (often kunjek-cherj,
lecture lek'teur (usually lek-cher], picture pik-teur
(usually pik-cher), stricture str'ik-teur (not strik'-
cher), tincture tingk-teur (often tingk-cher), puncture
pungk-teur (oftenpungk-cher), structure str'uk-teur
(usually str'uk-cher), forfeiture faurfiteur (often
fawficher), furniture fer-niteur (usually fer-nicher),
culture kul'teur (usually kul-cher], vulture vul'teur
(usually vul-cherj, venture ven'teur (usually ven'-
cherj, capture kap-teur (usually kap-cherj, rapture
r'ap'teur (usually r'ap-cherj, scripture skr'ip-teur
(usually skr'ip-cherj, torture taur-teur (usually
tawcherj, moisture mois-teur (often mois-cher ,
future fewteur (usually fewcherj, fixture fik-steur
(usually Jik'scherJ, seizure see'zheur (usually see'~
zherj. The change of -teur, zheur into -cher, -zher,
depends mainly on the frequency with which the
word is used, the latter forms are those which

161

GLOSSIC INDEX.

Sec. XII

prevail in common words. Before vowels -eur' or
-ur' is used, as figuring Jig 'eur' ing, flg'ur 1 ing. Ex.,
p. 137.

E'uR , e., a form of airr', which see.

ETJ-RR', e., a representative of eu'ur" ', before
vowels only, p. 1370. Long and strong: enduring
endeu'rring, immuring immeu'rr'ing, curing keu'rr*-
ing, purer peu-rr'er, purity peu-rr'iti, puritanic
peu-rr'itan-ik.

Euo, e. faulty form of ou, p. 475, usually written
ew, and then to be distinguished from eu, which see.

EW, see last entry.

EZ, e., weak and final, with indistinct vowel,
sometimes e, sometimes i, sometimes perhaps i',
forming plurals and third persons of verbs, p. 1410.
Princes prin'sez, princesses prinses-ez, seizes see-zez,
inches in'chez, flinches flin-chez, judges ./w/'ez.

F, e. g. i. f ., see p. 675. Initial before vowels :
fat fat, farm faa-rm, fate fai't, fought fau~t, fell
fel, feel fee-l, file fell, feud feu-d, fit Jit, fodder
fod'er, foal foa-l, four foa f r, foist' foist, fool foo'l,
foul foul, fuss fus, foot fuot. Initial before con-
sonants : flat flat, flaunt flaa'nt, flame flai-m, fled
fled, fleet flee-t, flight fleit, flit flit, flog flog, float
floa't, &oux flour, flutter flut-er, fragil fr'aj-il, fray
frai', phrase fr'ai'z, fraught fr'au't, fret fr'et,
free //*e-, fright fr'eit, fritter fr'it-er, frog /r'o^,
froth fr'oth (oitenfr'awth), fro ward fr'oa'erd, fruit
fr'oo-t, frown fr'oun, fructify fr'uk'tifei. Medial
between vowels : Baffin Baf-in, wafer wai-fer,
heifer hef-er, stiffer stif-er, offer of-er, loafer loa'fer,
roofing roo'flng, rougher ruf'er. Final: staff staa'f,
waif wai-f, safe sai-f, deaf def, beef bee-f, life lei-f,
stiff s^/, cliff Wt/, scoff skof (also skau-fj, oaf
0<r/, coif, quoif A;oe/, hoof hoo'f, stuff S^M/. Double:
a stiff frost u stif frost, a half foot u haa-f fuot, a
gruff foe u gr'uf foa-, a laugh forced u laa-f
foa-rst, a stiff fog u stif fog, a half friend u haa'f
fr'end, a gruff foreigner u gr'uf for^ener. Ex.,
p. 1215.

I", g , only in the combination pf, see pp. 35,
66.

J^F, perhaps occasionally initial in "W. Somerset,
hiss of /passing into buzz of v, p. 92a.

G, e. g. i. f., sonant of k, p. 825. Initial before
vowels : gad gad, ghastly gaa-stli (often gaa-slij,
g&meffai-m, gall yawl, get get, geese gee-s, guile
geil, gimblet gim-blet, got got, goat goa't, goose
^oo', gout gou-t, gum ^wm, good guod. Initial
before consonants : glad glad, glass glaa-s, glaze
glai'z, glean glee'n, glitter glit'er, glossary glos'ur'i.
gloat gloa't, glut glut, grand grand, grass gr'aa's
great gr'ai-t, grit ^r'i<, grotto gr'ot'oa, groin gr'oin.
groom gr'oo'm, growl groul, grub gr'ub. Medial:
haggard hag-erd, plaguy plavgi, beggar beg-er.
eager ee^r, tiger tevger^ trigger tr'iyer, flogging
flog'ing, disemboguing dis'emboa'ging, drugget
dr'ug-et, sugar shuog-er. Final : nag nag, stag
stag, plague plai-y, egg ey, league lee-g, big 5iy, bog
bog, rogue roa'g, rug rwy. Double : a big gun
u big gun (compare a big 'un u big-un}.

Q Gr, theoretical implodent of k, see p. 825.

GH, g., voiced form of kh, pp. 830, 1460.

'GrH, g. faulty form of gh, allowing uvula to
trill, p. 840.

G W, rare e. combination, used for gw\ which see.
-GW, e. usual form of gw, as here always
written. See p. 825.

G W'H, g. labialised form of gh, p. 835.

GT, e., usually written for gy\ which see.

GT\ e. a (now) faulty pronunciation of g,
especially before aa, ei, written gy, pp. 805, 1500.

GY'H, g. voiced form of kyh, pp. 810, 1460.

H, e. g., aspirate, in speaking either hi or h?, in
singing always hf, p. 585. Initial only : ham ham",
hat hat, heart, hart haa-rt, hate hai-t, haze hai'z,
haws hau'z, hem hem, heel, heal hee'l, height heit,
huge heuj (or properly yheuj), hit hit, hot hot, home
hoa'm, hoist hoist, hoot hoo't, who hoo', howl houl,
hull hul, hook huok.

1 H, the Arabic wheeze, p. 605.

H', e. g. f., the symbol for simple voice, p. 565.

H, e. g. f., the symbol of simple flatus, p. 560.

J3"', e., the symbol of whisper, p. 565.

HH, e., the symbol of jerked flatus, p. 585.

lH, e., a very perceptible gradual attack, p. 57.

HI, e., jerked gradual attack, common form of
aspirate, p. 590.

Sec. XII.

GLOSSIC INDEX.

165

Hi, e., jerked clear attack, the singer's aspirate,
p. 590.

I, e., replaced by ee, in g. i. f., pp. 280 and b,
29b, 315, 390. Strong and short : itch ich, if if,
ill t/, in in, it it, is iz, bib #i, fib fib, jib yii, nib
m, rib r'ib, fibbed fibd, jibbed jibd, nibbed nibd,
bibs bibz, fibs/fo, ribs r'ibz, bitch #icA, ditch dich,
hitch AicA, nitch nich, pitch jsicA, rich r'icA, stitch
stick, witch wich, which which, hitched hicht,
pitched picht, bid bid, chid chid, did did, hid Ai^,
kid &^, lid lid, rid r'trf, quid kwid, width wid'th,
widths wid'ths, lids lidz, quids kwidz, tiff ^/, stiff
ft/, whiff wAt/j tiffs tifs, whiffs wAtjft, whiffed
whift, lift /(/if, fifth //*A, fifths fifths, big %, dig
diff, fig A, gig <7*<7, jig jiff, pig 4V, rig r'iy, wig
wt^, swig *t0t^, whig whiff, jigged jigd, rigged
r'igd, wigs wigz, gigs ^tyz, midge mij, ridge r'y,
ridged r'ijd, Dick DtA, kick AtA, lick lik, flick ,/KA,
click A/tA, nick tA, pick jwA, rick r'ik, brick ir*tA,
crick kr'ik, prick jtfr'tA;, sick si A;, tick tik, thick
*AiA;, wick wik, quick Awt'A, nicks wiA;s, fix fiks, six
*tA*, fixed fikst, sixth siksth, sixths siksths, licked
likt, pricked pr'ikt, ill il, biU */, chill <?At/, fill//,
gill /, hill At/, jill jil, kill At//, skiU At/, mill
mil, pillow/, rill rt/, briU Jr't/, driU dr't/, frill /r't/,
griU^t/, shrUl Ar't/, thrill *A/i/, siU /, till /,
will tot/, quill At0t/, swiU swil, filch >, 7 cA, filched
filcht, killed At/rf, drilled rfr't/rf, thrilled thr'ild,
builds bildz,- bilge bilj, bilk ii/A;, milk mi/A;, silk
silk, silks si/A:s, film film, films jtf/wz, kihi A;i/w
(usually At/), built Atft, guilt, gilt ^i/^, hilt Ai/^,
jilt jilt, kilt At/*, lilt /t, milt milt, silt tft, tilt
tilt, wilt wtft, hilts At/to, jilts jilts, ills tfo, biUs
bilz, mills wife, f rills fr'ilz, dim c?iw, him Aim, Jem
Jim, limb &m, rim r'im, brim ir'im, grim gr'im,
prim pr'im, Tim rtm, whim whim, limbed /iw<?,
shrimp shrimp, guimp gimp, limp /tmp, shrimps
shrimps, limped limpt, in, inn in, bin Jiw, chin cAiw,
din din, fmfin, begin biffin-, gin jin, kin A;iw, pin
pin, grin ^r'iw, sin sm, shin shin, tin iw, thin thin,
win w?iw, whin wAm, inch inch, finch finch, lynch
linch, pinch pinch, winch winch, pinched p^ncht t
lynched /t0A, Ind Ind, double- chinned dub'l-

chiwd, dinned dind, finned find, piuned pind t
sinned sind, shinned shind, tinned tind, thinned
thind, hinge hinj, impinge impinj, fringe fr'inf,
cringe kr'inj, springe spr'inj, singe sinj, tinge tinj,
fringed fr'in/d, singed sinjd, mince mins, rince
r'ins, prince prins, since sins, wince wins, minced
minst, winced winst, dint dint, hint hint, lint lint,
flint fiint, glint glint, splint splint, mint mint,
print pr'int, tint tint, splints splints, plinth plinth,
plinths plinths, king king, ling ling, sling s/iw^,
ring r'iny, sing sm^r, string sir' ing, thing thing,
wing mw^, winged wingd, chink chingk, link
/m^A, blink blingk, pink pingk, rink ringk, drink
dr'ingk, sink siw^A;, stink sting k, think thingk,
wink wingk, drinks dr'ingks, thinks thingks,
blinked blingkt, winked wingkt, stings stingz,
wings wingz, chip cAij9, dip <%?, hip Ai/?, gypjip,
skip sA;ijt?, lip /ij, flip /ip, clip A/ijt?, slip slip, nip
nip, pip pip, rip r'tp, drip rfr'ij9, grip ^r'tp, scrip
skr'ip, strip str'ip, sip sij, ship sAi#>, tip <tp, equip
ikwip', whip whip, ships ships, whips whips,
shipped shipt, whipped whipt, this dhis, hiss his, kiss
Aw, bliss i/is, miss mu, frisk fr'isk, f risks fr'isks,
lisp /wj?, crisp kr'isp, wisp m*j9, whisp whisp, lisps
/tsjos, fist ./?*#, hist Aisif, gist yt*^, mist, missed mi*^,
wrist r'ist, grist gr'ist, whist whist, wrists r'ista,
dish ^isA, fish fish, wish wisA, whish whish, fished
/A^, whisht whisht, it t, bit ii*, chit chit, fit /,
hit At*, kit At*, lit lit, flit fiit, split *j9/i*, slit /t*,
smit smit, nit, knit i*, pit pit, writ r'i, grit ffr'it,
sit st*, tit *i*, wit wit, whit wAi, Eitz Fits, writs
r't**, kith At*A, myth mith, pith ^i*A, frith fr'ith,
myths miths, live (v.) liv, sieve siv, lived /ivc?,
lives (v.) livz, sieves sivz, is iz, his Aiz, Liz Liz,
'tis *iz, whizz wAiz, whizzed whizd. Weak, short,
and open, by some considered as -i' : lobby lob'i,
piracy pei-rr'esi, ready r'ed'i, clayey klai-i, leafy
lee'fi, craggy kr'ag'i, stingy stin-ji, valley val'i,
chimney chim'ni, bushy buosh'i, stithy stidh'i,
healthy hel'thi, leaky /^*At, bravely brai-vli, poppy
pop'i, beggary beg'ur'i, aviary arviur'i, salary
sal'ur'i, laundry laa'ndr'i, nunnery nun-ur'i, glory
gloa'rr'i, defamatory difam'utur'i, parry par'-i,
cherry cher'"i, sorry sor'i, hurry hur-i, sultry

16ft

QLOSSIC INDEX.

Sec. XII.

sul'tri, vestry ves'tri, fury feu-rr'i, usury eu'zhur'i,
courtesy koa-rtesi, ker-tsi, pansy pan f zi, daisy dai'zi,
busy biz'i, haughty hau-ti, unity eu'niti, envy
en'vi, colloquy kol'oakwi, dizzy diz'i. Ex. pp.
1180, 119*, 128*.

i, mark of an i forming a diphthong with the
preceding vowel, p. 43*, or of short i.

I', e., p. 290, the Welsh u, p. 290, supposed in-
distinct sound of weak short open i, which gee,
p. 390.

IEE, e., a throat glide, and dialectal form of ee,
written ee, p. 55*.

WO, e., a form of eu, p. 480.

I'u, e. , the murmur diphthong in eer, p. 50*.

? Z7j&, a theoretical lip glide, faulty form of ue,
p. 55*.

lUO'u, e., a form of eur, which see.

J-wV, e., a form of 0m-', which see.

J, e. i., not dzh, but dy'zh', see p. 800. Initial
before vowels : jack jak, jaundice jaan'dis, jade
jai'd, jaw/aw, jet ,/e, genius j'ee'nius, gi&ntj/ei'eftl,
June /ewtt, jig jiff, jot >, jolt /otrft, joy Joi, jowl
/oJ, just /wsZ. / does not occur initially before
consonants. Medial between vowels : badger
baj-er, paging pai'jing, raging rai'jing, pledging
plej-ing, lieges tee-jez, obliging oablei'jing, fidget
fij'et, Hodge's Hoj'ez, gouging goo'jing, budget
buj-et. Final after vowels: age */, engage
engai-j, edge ej, dredge dr'ej', ridge r'ij, podge poj,
judge juj, liege leey, oblige oablei-j, doge doa'j,
gouge goo-j. Double : a huge giant u yhewj jei'entt
a stage jest u stai-j jest, a strange joke u str'ai'nj
joa-k. Ex. p. 1250.

/', a sonant form of j, p. 790.

J'ZH', a possible form of j, p. 800.

K, e. g. i. f., see p. 82*. Initial before vowels :
cat kat, cart &00-r, cate kai-f, call kau'l, kept kept,
keep kee'p, kite keit, cue keu, kit kit, cot kot, eoat
koa-t, coil koil, eool koo-l, cowl koul, cut kut, cook
^wo^r. Initial before consonants : clad klad, class
klaa-s, clay ^fei, claws klau'z, cleft A:^, cleave
klee-v, clime &im, cliff ^^/, clot klot, clove kloa-v,
cloy ^rfoi, cloud kloud, club ^^M*, cram &r0w, crane

krai'n, crawl krawl, crept #n?^, cream kr'ee-m,
crime kr'eim, criminal kr'im'inel, croft kr'oft, croak
kroa-k, crude kr'oo-d, crowd kr'oud, qualm kwaa-m,
quail kwai'l, quell &M>^, queen, quean kwee-n, quite
kweit, quit kwit, quantity kwon'titi, quote kwoa'i
(sometimes koa't). quoit &w>oi (often &0i) ; all
these &w are really ^^', which see. Medial
between vowels : sacking sak'ing, taking tai-king,
walking wau-king, pecker pek-er, meeker mee-ker,
striking str'ei'king, puking peu'king, picking
pik'ing, knocking nok'ing, poking poa-king, ducking
duk-ing, cooking kuok'ing, looking luok'ing. Final
after vowels : back bak, bake bai'k, balk bau-k.
neck nek, meek mee-k, spike spei'k, Suke Seu-k.
sick sik, lock lok, poke poa'k, suck suk, look ^woi
Double : bookcase buok-kais (compare bouquets
buok-aiz), a black cat u blak kat, a black cock
u blak kok, a quick camel u kwik kamel, a quid?
canter M kwik kan-ter.

JT, e., the sound produced by gently separating
the back of the tongue from the roof of the mouth
as black blak , see p. 94*.

KH, g., see pp. 830, 1460, the guttural hiss.

1 KH, g. faulty form of kh, with a trill of thf
uvula, p. 840.

K-H, g. post-aspirated k, the following vowe'
being jerked, or preceded by jerked flatus, p. 900.

KH, e. final k followed by an ejection of flatus
stronger than k, see p. 94*.

KV, the real g. ' qu ' in quelle kv'ael'u, see.
p. 830.

KW, e., p. 82*, an attempt to pronounce k and
w at the same time, the true e. 'qu' in quell
kw'el, usually written kw, see k.

KWH, g., the guttural hiss kh, pronounced
while the lips are rounded for oo, p. 83*.

KY\ e., p. 80*, old-fashioned attempt to pro-
nounce k and y together, pp. 80*, 1500.

KTH. g., pp. 810, 1460, the palatal hiss in ich
eekyh.

L, e. (the g. i. f. form is I', which see), see
p. 730. Initial before vowels : lad 00*, last laa-st,
late lai-t, law lau, let let, least lee'st, light leit,
lute leu't (or loot], lit lit, lot lot* loam loa'm,

Sec. XII.

GLOSSIC INDEX.

167

Lloyd Laid, loom loo-m, loud loud, luck luk, look
luok. L does not occur initial before consonants.
Medial between vowels : alley al-i, railing r'ai'ling,
calling kau-hng, selling pel- ing, ceiling, sealing
see-ling, filing fei'ling, duly deu'li, killing kil'ing,
Dolly Dol-i, coaling koa-ling, coiling koi-ling, cool-
ing ' koo-ling, growling growling, culling kul'ing,
pulling puol-ing. Final after vowels : Sal Sal, sail
sai'l, Saul Sau-l, sell sel, seal see-l, pile peil, mule
mewl, pill pil, doll dol, droll dr'oa'l, toil tot/, tool
too-/, fowl foul, dull </tf/, full /MO/. Final after
consonants, vocal, forming a syllable and capable
of being followed by d or z : dabble dab- 1, dabbled
dab-Id, dabbles dab'lz, addle ad-l, snaffle snaf-l,
higgle hig-l, haggle hag-l, struggle str'uyl, cackle
kak-l, sickle sik-l, apple ap-l, nipple nip- 1, ripple
rip-l, jostle jos-l, epistle ipis-l, little /*/, kettle
ket-l, cattle &/, mizzle wiz-/, drizzle driz'l. If a
vowel follows as an inflection, the / ceases to form
a syllable, as stable, stabling stai-bl, stai-bling, not
stai'bl-ing or stai'bl-ling. Double between two
vowels : a full league ufuol lee-g, a dull lad u dul
lad (compare dullard dul-erd), Mill Lane Mil Lai'n,
not till late not til lai't (compare not till eight not
til ai-t], a tall lady u tau-l lai'di, a wall lamp u wau-l
lamp, vile labour veil lai-ber, illicit illis-it (compare
elicit ilis-it), ill luck U luk, soulless soa-lles (com-
pare solace soa-les). Double between a consonant
and a vowel : Apple Lane Ap'l Lai-n, the battle
lasted long dhi bat-l laa-sted long, a little lass u
lit-l laa-s, to haggle long too hag-l long. Ex. p. 1 255.

L\ g. i. f., with the point of the tongue against
the gums or teeth, but Englishmen need not
distinguish it from /, p. 735.

( L, theoretical unilateral /, one side of the tongue
being close to the palate, and the other (generally
the right side) depressed to allow a passage of air,
AS in clicking to make a horse go on, p. 735.

4 Z, possible western e. I, with the under part of
the point of the tongue brought against the palate,
see p. 735.

LH, the hiss of /, p. 735.

VH, the hiss of /', p. 735

'LH, the hiss of % the Welsh ' U ' as Hall '/Aa'/A
p. 735.

LY', i., attempt to pronounce / and y at the same
time, pp. 815, 1485.

M, e. g. i. f., see p. 665. Initial before vowels :
mat mat, Mars Maa-rz, mail, male mai-l, maul
mau-l, mellow mel-oa, Molly Mol-i, mole moa-l,
moist moist, move moo-v, mouth mouth, muff muf.
M does not occur initially before consonants.
Medial between vowels : clammy klam'i, maiming
mai-ming, hemmer henrer, teeming tee-ming, climb-
ing klei-ming, fumitory feu-mitur'i, dimming dim--
ing, Tommy Tom-i, gloaming gloa-ming, grooming
gr'oo-ming, humming hum-ing. Final after a
vowel : ham ham, aim ai'm, shalm shawm, stem
stem, team, teem tee'm, time teim, dim dim, Tom Tom,
loam loa'm, tomb too-m, room r'oo-m (not r'wom).
hum hum. Final after a consonant, not forming a
syllable : realm r'elm', elm elm-, whelm whelm-,
film film'. Words like worm werm, term term,
formfatirm, do not belong to this class unless the
r" is heard, and then speakers are apt to make the
m form a syllable, as wur'-em, ter'-em, for' -em, and
similarly they are apt to say el-em ; neither fault
should be imitated. Final after a consonant,
forming a syllable : logarithm log-urith-'m, chasm
kaz'm, enthusiasm entheu'ziaz-'m, spasm spaz-m,
criticism krit-isiz-'m, schism siz-m, sophism sofiz-m,
organism au-rguniz-'m, prism pr'iz-m, egotism
eg-oatiz''m, abysm abis'm, paroxysm par'-oksiz-'m.
Double between two vowels : a calm manner u
kaa-m man~er, to thrum music too thrum meu'zik,
a grim man u grim man, immure immewr, some
magpies sum mag-peiz. Double between a conso-
nant and a vowel : the schism mentioned dhi siz-m
men-shend, a prism made by me u priz-m mai'd bei
mee, a spasm might ensue u spaz-m meit enseu-,
heroism modernism mechanism her-oaiz~'m mod'ern-
iz-'m mek-uniz-'m. Ex. p. 1260.

MH, theoretical flated form of m, p. 675.

MP, e. final, extremely short sound of m, checked
by closing the glottis, p. 985.

168

N, e. v the g. i. f. form is n", which see), p. 11 a.
Initial before vowels : gnat nat, gnarled naa-rld,
nail nai-l, gnaw nau, knell nel, kneel nee- 1, knife
ne^f, newt <, knit nit, knot, not wo, note noa-t,
noodle noo-dl, now MOM, nut nut. N does not occur
initial before consonants. Medial between vowels:
Fanny Fan'i, staining stai'ning, awning awning,
penning pen-ing, weaning wee-ning, pining penning,
tuning tewning, pinning pin'ing, bonnet bon'et,
owning oa-ning, joining joi-ning, crooning kroo-n-
ing, frowning frowning, punish pun'ish. Final
after vowels : pan pan, pain, pane pai'n, pawn
pawn, pen pen, seem, seam see-m, sign sein, tune
tewn, pin pin, gone gon, groan gr'oa-n, groin groin,
soon soo-n (not suon), brown br'oun, fun fun.
Final after consonants, all the following may also
be pronounced with indistinct en, which see : ashen
ash-n, freshen fr'esh'n, heathen hee'dhn, oaken
oa-kn, taken tai-kn, silken sil-Jcen, spoken spoa-Jcn,
happen hap-n, chosen choa'zn, lessen, lesson les-n,
beaten bee'tn, often of-n, hasten hai-sn, flatten
flal'n, rotten rot-n, seven sewn, waxen waks-n,
frozen froa-zn, basin bai-zn (some call Latin Lat'n,
satin sat-n, but it is an antiquated pronunciation),
rosin, resin roz'n (or roz'in or rez'inj, pardon
paa-rdn, wagon wag-n, syphon sei'fn, reason ree-zn,
treason tr'ee'zn, season see-zn, poison poi-zn, cotton
kot-n, mutton mut-n, button but'n (these three last
are perhaps never Jcot-en, mut-en, but-en). Double
between two vowels : unknown unnoa'n (compare
unowned unoa'nd), one known to me wun noa'n too
mee, soon known soo'n noa-n, sign now sein nou,
sign none sein none, a nun known now u nun noa-n
nou. Double between a consonant and a vowel:
Newton knew well Newtn neu wel, it's frozen now
its froa-zn nou, chosen knolls choa-zn nolz, beaten
never bee-tn never, often now of-n nou, he saw
treason nigh hee sau tr'ee'zn nei. Ex. p. 1265.

N', symbol for French nasalisation, see aen',
ahn', oan', oeri , p. 395.

N", g. i. f., dental n, p. Ha, with the point of
the tongue against the gums or teeth, for which
an Englishman may always use his own n, which

GLOSSIC INDEX. Sec. XII,

t N, an n made with the tongue in the position of
t d, which see, p. lla.

NG, e. g. i., see p. 84a. Never initial in English
either before a vowel or a consonant. Medial
between two vowels : hanger hang-er, ganger
gang-er, singer sing'er, longer long-er (one who
longs, but long-ger more long), hanging hang-ing,
singing sing-ing, longing long-ing. Final: bang
bang, fang fang, gang gang, hang hang, clang
Hang, slang slang, pang pang, rang rang, sang
sang, stang stang, king Icing, ling ling, fling fling,
cling kling, sling sling, ring ring, bring br'ing,
string sir 1 ing, thing thing, wing wing, swing swing,
gong gong, long long, strong str'ong, thr'ong throng,
song song, thong thong. Never double. Ex. p.
125.

NGG, e., see p. 84i. Never initial, final, or
double, only medial : &.ng&cjing-ger, linger ling-ger,
stronger str'ong-ger, hunger hung-ger. Avoid final
ngg.

NGH, theoretical flated form of ng, see p. S5a.

NGK, e. g., p. 985. Very short ng terminated
by closing the glottis, never initial, common final :
bank bangk, think thingk, wink wingk, hunk hungk,
monk nwngk. When medial proper the ng is
equally short, as thinking thingk- ing, winking
wingk- ing, but sometimes advantage is taken of the
following vowel to lengthen the ng, and this is^
always the case in Italian : monkey mung'ki, not
generally mungk'i, but flunkey Jlungk-i always;
Italian ancora aang-koa-raa.

NH, e. flated form of n, still heard in Cumber-
land for kn initial, p. 78b.

N"H, flated form of n", which see, p. 783.

NY', i. f., p. 82, an attempt to pronounce n and
y at the same time. Ex. pp. 148i, 1505.

NT, e., p. 985, very short n terminated by closing
the glottis, when nt is final, as pant pant-, paint
pai'nt, haunt hawnt (or haa'nt], went went, pint
peint, hint hint, font font, won't woa'nt, aroynt
uroi'nt, fount fount, punt punt. When medial

Sec. XII.

GLOSSIC INDEX.

169

advantage is taken of the following vowel to
lengthen the n, as painting pain-ting, hinting
hin--ting, hunting hun'-ting.

0, e. (the foreign form is ao), p. 35, 360. Strong
and short : bob bob, fob fob, hob hob, job job, cob
kob, blob blob, mob mob, knob w0, rob r'oi, throb
thr'ob, sob so, swab swob, jobbed jobd, cobs /bfo,
botch boch, notch noch, watch woch, watched
wocht, god god, hod hod, cod &o^, plod plod, nod
woe?, pod J906?, rod r'od, sod so^, wad woe?, hods hodz,
rods r'oife, off of, doff <&>/, cough &o/ (or kau-f],
doffs efo/s, coughed koft (or kau~ft], crofts krofts,
lofts /o/Vs, bog do?, dog dog, fog /o^, Gog oy, hog

jogged >yc?, flogs fiogz, dodge %', Hodge JETo;,
lodge loj, lodged lojd, dock dok, cock &o&, lock o&,
block blok, flock ^o^, clock &o&, mock mok, knock
nok, pock pok, rock r'oAr, frock frok, crock r'o&,
sock so&, shock shok, thou mock'st c?Aow mokst,
mocked mokt, shocked shokt, doll dol, loll fo/, Moll
JfoJ, knoll nol, Poll PoJ (but poU poa't), golf ^o//,
dolls dolz, lolls jWz, romp r'omp, prompt pr'ompt,
prompts prompts, on on, don ?ow, gone yow (or
gau-n], John 7b, con kon, shone sAow (sAtw or
shoa-n), bond iowe?, donned ^ewc?, fond fond,
conned kond, blond blond, pond pond, frond
frond, wand wows?, ponds pondz, wands wondz,
sconce skons, font yo (see -nt], fonts fonts, cons
konz, gong //owy, long /ow^, prong pr'ong, strong
str'ong, throng thr'ong, song sowy, thong thong,
longed longd, thronged thr'ongd, songs songz,
thongs thongz, chop oAoj?, fop fop, hop Aqp, lop lop,
flop^oj?, slop s^, mop mop, pop joo/?, drop ^r'oj9,
crop kr'op, prop pr'op, sop sop, shop sAoj9, top ^q/?,
stop stop, whap wAo/?, swap swop, slops *&^?s, stops
*#oj35, cropped kr'opt, propped pr'opt, adopts udop-ts,
loss los (or laws), floss ^os, gloss yfos, Joss Jos,
moss mos, Ross ^05, dross dros (these 5 words never
have -aws], cross kr'os (or kr'au's], toss ^os (or
<aws), cost /cost (or kau-st], lost fos (or lawst),
mossed wos#, frost fr'ost (or fr'au'st], crossed kr'ost
(or kr'au-st), tossed ^o*^ (or tawst), wast wo*^, frosts
frosts (or fr'au'sts), bosh iosA, wash wosA, quash
kwosh, washed wosht, quashed kwosht, dot ?o^, got

got, hot Aoif, jot jot, cot &<tf, scot 5^0^, lot lot, blot
/o, clot klot, plot j9?oi{, slot sfo^, not not, pot jt?o,
rot rot, grot ^r'otf, sot so^, shot shot, wot wo,
squat skwot, what wAo#, blots ifoiJs, clots klots,
cloth A^o^A (or klau-th], moth mo^A, wroth r'o^7i (or
rau'th], broth ir'o^A (or br'au-th), froth fr'oth (or
fr'au-thj, Thoth Z%o*A (or Tau-t], cloths Ms
(or klawthsj, frothed fr'otht (or fr' awtht], was
woz. "Weak and short, rare, as o becomes w, or
indistinct : chaos kai'os, tripos trei'pos, bloodshot
blud-shot, upshot up-shot, earshot ee'rshot, polyglot
pol-iglot, underplot un-derplot, counterplot kou-nter-
plot, grass-plot or plat graa'splot, cannot kan'ot, slip-
slop slip-slop, milksop milk'sop, snowdrop snowdrop,
padlock pad-lok, shuttlecock shut-lkok, thingumbob
thing-embob, lapdog lap-dog, slipshod slip-shod, dry-
shod drei-shod. Ex. pp. 118J, 1205, 130*.

OA, e. g. i. f., see p. 355, 36<z, 39. There is a
tendency in London to say oa-w, and even oaw,
p. 36 ; the latter should be avoided always ; the
oa-w (which is rather a lip glide, p. 550, the lips
closing from the mid-round position for oa, to the
high-round position for oo; is used in open
syllables when final, but only at the end of a
phrase and word, when there is a pause, and in
closed strong syllables before vocals and lip letters
chiefly, its general use should be avoided. Strong
and long : bow boa-, (or boa-w), doe, dough doa- (or
doa-w], though dhoa," (seldom dhoa-w, avoid the
Scotch thoa-}, foe/oar (or/o<rw>), go ^o- (or goa-w,
avoid goo), hoe hoa- (or hoa-wj, Joe /oa-, low
loa- (or loa-wj, blow bloa- (or bloa-ivj, ftowjloa- (or
floa-w^, glow gloa- (or gloa-w), slow sloa- (orsloa-w],
mow (v.) moa' (or moa-w, mow (s.) mow), no,
know noa-, noa-w, snow snoa- (or snoa-w], row (v.)
r'oa- (or r'oa-w ; in the sense of tumult, r'ou), grow
gr'oa- (or gr'oa-w], crow kr'oa' (or kroa-w], throw
thr'oa' (or thr'oa-w), sow, sew soa- (or soa-w],
show, shew shoa' (or shoa-w], toe, tow toa-
(or toa-w}, stow *;o' (or stoa~w , woe woa- (not
), Job /oa - 5 (or Joa-wb], lobe ^oa'5 (not
, because the word is unusual], globe gloa-b,
robe r'oa-b (or roa-wb], probe proa-b, robed roab'd,
probed pr'oa-bd, robes roa-bz (or r'oa-wbz), coach

170

GLOSSIC INDEX.

Sec. XII

koa'ch, poach poa-ch, roach r'oa-ch, brooch, broach
br'oa'ch, encroach enkr'oa'ch, poached poa'cht, bode
boa-d, goad goa'd, hoed hoa-d (or hoa'wd, but
not common in any such case), load, lode loa'd,
flowed floa'd, glowed gloa'd, mode moa'd, node
noa-d, rode road r'oa-d, crowed kroa-d, sowed,
sewed soa-d, shewed, showed shoa-d, towed, toad
toa-d, stowed stoa'd, woad ivoa-d, modes moa'dz,
toads toa-dz, loathe loa-dh, clothe kloa-dh, loathed
loa f dhd, loathes loa-dhz, clothes kloa'dhz (or kloa-z},
oaf oa-f, loaf Zoa-f, loafs loa'fs, loafed loa'ft, rogue
roa'ff, brogue br'oa'g, vogue voa'g, brogues br'oa'gz,
doge doa-j, oak oa'k, choke choa'k, joke joa- k, smoke
smoa-k, poke poa'k, spoke spocrk, broke br'oa-k,
croak kr'oa'k, stroke str'oa-k, soak soa'k, woke
woo, k, yoke, yolk, yelk yoa'k, oaks oa'ks, croaks
kroa-ks, hoax hoa-ks, Nokes Noa'ks, stroked
str'oa'kt, bowl boa'l (or boa'wl ; when a ball, some-
times boul), dole doa-l (or doa-wl), foal foa-l (or
foa-wl), goal goa'l (or goa-wl), hole, whole AoarJ (or
hoa'wl), coal &o<r (or koa-wl), -mole moa'l (or
moa-wl), pole j90<r (or poa-wl), roll r'o<r (or
r'oawl), droll dr'oa-l (or droa-wl), scroll skr'oa-l (or
skr'oa-wr), sole, soul, soal so<r (or soa-wl), shoal
sAoa 1 / (or shoa-wl), toll fo<r (or tocrwl ; I find
that I do not say oa*W in any case, but that I do
close the lips a little more at the end of the oa than
at the beginning, not, however, to the complete oo
position, and that the tongue remains still, so that
the sound begins with pure oa and ends with an
oa slightly inclined towards oo; to say oa-wl is
unnatural to me), holp hoa-lp, bolt boa-It, dolt
doa'lt, jolt j'oa-lt, moult moa-lt, bolts boal'ts, dolts
doa'lts, holes hoa'h, dome doa'm (or doa'wm, but in
all the following words I find that my lips come
only slightly nearer for oa, and fall suddenly on
m without passing through the form for oo, com-
pare doo-m, doa-m in the mirror and see that they
do not end alike), foam foa-m (or foa-wm), home
hoa'tn (or hoa'wni), comb koa'm (or koa'wm), loam
loa-m (or loa'wn), clomb kloa-m (or kloa-wm/,
gnome noa-m, roam r'ovm, tome toa'm, foamed
foa-md, combed koam-d, roamed r'oa'md, combs
koa'mz, roams r'oa'mz, tomes toa-mz, own oa~n (or

oa'wn, the oa'w more common), bone boa-n (or

boa-wn), hone hoa-n (or koa-wn], loan, lone Zoa-n,

blown bioa-n (or bloa-wn), flown floa-n (or Jloa-wri),

moan moa'n (not often moa'wn), known noa'n (or

noa-wn) y roan r'oa-n, drone dr'oa-n (or droa f wrij,

grown gr'oa-n (or groa'wri), prone pr'oa-n, strewn,

strown str'oa-n, thrown, throne thr'oa~n (or

throa'wri), sown soorw (or soa-wri), shewn, shown

shoa-n (or shoa-wn), tone foarw, stone ^oa-w (or

stoa'wn), don't doa'nt (often doct'wnt], won't woa'nt

(seldom woa-wnf), bones boa-nz, stones stoa-nz (or

stoa'wnz], ope 007? (I find oa-wju rather difficult, yet

I think I hear it occasionally), hope hoa-p, cope

koa'p, slope sloa'p, mope moa'p, pope poa~p, rope

r'oa-p, grope gr'oa-p, soap oo;'ji?, hopes hoa'ps, ropes

r'oa-ps, groped groa-pt, dose cfotrs (some say doa-z),

close (adj.) kloa-s, boast boa-st, ghost goa-st, host

hoa'st, coast koa'st, most moa'st, post poa'st, roast

r'oa-st, toast toa-st, ghosts yoas'ts, hosts hoa-sts, oat

oa-^, boat 0<r (I have heard boa-wt, and even

boawt, but thought them very strange), dote cfoa-,

goat ^o#-, coat 00% bloat bloa-t, float floa't, gloat

gloa-t, moat moa't, note noa't, rote r'oa't, throat

thr'oa't, oats oa'te, boats boa-ts, throats throa-ts,

oath oa'^A, both boa'th (not boa'wth, nor boa-dfr),

loth loa'th, sloth sloa-th, oath's o-^As (but oaths

oa'dhz}, hove hoa'v (or hoa'wv), Jove Joa'v (or

Joa'wv), cove koa'v (or koa'wv}, rove roa'v, drove

dr'oa-v, grove gr'oav, strove str'oa-v, shrove shr'oa-v,

throve thr'oa'v, wove woa'v (never woa'wv], coved

koa-vd, coves koa'vz, groves gr'oa'vz, doze c?o-z",

those dhoa-z (or dhoa-ws), foes /oa'z (or foa-wz) t

goes ^rofl'z (or goa'wz), hose Aoorz, blows i/o-z (or

bloa-wz}, flows ^oa'2 (orjloa'wz), glows, gloze ffloa-z,

(and, as glows gloa-wz], close ^v.j ^^o-z (orA;foa-W7z),

nose woa-z (or uoa-wz perhaps, but not often), pose

j3o-z, rose r'oa-z (or r'oa-wz perhaps), froze /ro-z,

grows groa'z (or groa-wz) , crows kroa-z (or kr'oa-wz),

prose pr'oa'z, strews, strows stroa-s (or str'oa-wz),

throws thr'oa'z (or thr'oa-wz), sows (v.) soarz (or

soa'wz, but sows (s.) sowz), shews shows shoa-z (or

shoa'wz , toes, toze foa'z, woes woa-z. Weak and

strong, in open syllables, and then often -M, which

when final, is confounded with -*r by many

Sec. XII.

6LOSSIC INDEX.

171

speakers, that is, they consider themselves at
liberty to add an r when a vowel follows, or to
rhyme with words in -er, as ' window, cinder ;'
this should be carefully avoided. There is never
any tendency to change oa into oaw under such
circumstances. Felloe fel'oa (very often pro-
nounced fel-i, and even written ' felly,') mistletoe
miz-ltoa, tiptoe tip-toa, hero hee-rr'oa, negro nee'groa,
tyro tei-rr'oa, also au-Zsoa, potato potai'toa (often
ptt-^-tai'tu), mulatto meulat'oa, motto mot'oa, grotto
gr'ot'oa, bravo braa'voa (not brai'voa, still less
brai'v-^-oa], salvo sal'voa, embryo em-br'ioa, elbow
el'boa, rainbow rai-nboa, meadow med f oa, shadow
shad'oa, widow wid-oa, window win'doa, furbelow
fer'biloa, callow kal'oa, fallow fal'oa, hallow hal'oa,
shallow shal-oa, sallow sal-oa, tallow tal'oa, wallow
wol-oa, swallow swol-oa, fellow fel-oa, bellow bel-oa,
mellow mel- oa, yellow yel-oa (not yel-u, or yal'er),
billow bil-oa, ipillowipil'oa (distinguish from pillar
pil'er), willow wil-oa, callow kal'oa, follow fol'oa,
hollow hol'oa, minnow min'oa, winnow win'oa,
arrow ar f oa, barrow bar'-oa, f arrow far'-oa, harrow
har'-oa, marrow mar-'oa, narrow nar'-oa, sparrow
spar'-oa, morrow mor'-oa, sorrow sor'-oa, burrow
bur'~oa, furrow fur''oa, tornado taurnai'doa, lum-
bago lumbai-goa, virago vir'ai-goa, sago sai-goa,
indigo in'digoa, vertigo ver'tigoa, cargo kaa'rgoa,
echo ek'oa, ioliofoa'lioa, ratio rai'shioa, buffalo buf~-
uloa solo soa-loa, volcano volkai'noa (or volkaa-noa),
insolent in's&alent, innocence in-oasens (compare,
in no sense in noa' sen's), trilogy tril-oaji (or
tril-i^-ji, and so for all endings in '-logy,' as)
zoology zoa-ol'oaji, zoa-ol'uji, zoological zov'oa-
loj-ikel, zoophyte zocroafeit, Laocoon Zaiok-oa-on,
innovation in''oavai'shen, impotence im'poatens,
omnipotence omnip'oatens, geographical jee^oa-
graf-ikel, geometrical jee-'oamet-r'ikel. Ex. pp.
114*, 1163, 124, 131$, 135a.

O'A, e. provincial lip glide, same as uuoa, p. 55b.

OAi, e., a faulty form of oi, which see.

OA-1, e. faulty form of oi, p 455, not to be
tolerated for ei, p. 44a.

OAN', f. nasalised oa, more like oang than ong,
p 40i.

OA-R, e., representing the murmur diphthong
ao'ii, with the permission to add on a trill ; not to
pronounced au'u or au, p. 5Qb. Always strong
and long. Oar, ore oa~r, door doa'r, fore foa-r,
gore ffoa-r, hoar hoa-r, core koa-r, score skoa-r, lore
loa-r, floor floa'r, deplore diploa-r, more moa-r, Nore
Noa'r, snore snoa'r, pore, pour poa'r, roar r'o*r,
crore kr'oa'r, sore, soar soa'r, shore shoa'r, tore
toa-r, store stocrr, wore woa-r, yore yoa f r, porch
poa-rch, torch toa'rch y board boa'rd, ford foa-rd,
gored gocfrd, hoard hoa-rd, floored Jloa-rd, pored,
poured poa'rd, roared r'ocrrd, soared soa'rd, stored
stoa'rd, hoards hoa'rdz, fords foa'rdz, borne boa'rn
(distinguish born bau'rri), mourn moa-rn (also
moo'rn, distinguish from morn mau'rri), shorn
shoa-rn, torn toa-rn, worn woa'rn, mourns moa-rnz,
hoarse hovrs (distinguish horse hau'rs), force
foa-rs, coarse, course koa'rs, source soa'rs. The
distinction between oa'rt, au'rt (or au-t], oa-rn,
au-rn (or awn), oa'rs, au'rs (or au-s) should be kept
very clear. If any difficulty is felt, begin in two
syllables with oa-er, alter to ao-er, ao'er, ao'r, and
see pp. 131 a, 136*.

OA-ER', e., standing for ao-ur ', p. 50*. Long
and strong, before a vowel only : goring goa'rr'ing,
scoring skoa'rr'ing, flooring floa'rr'ina, Flora
Floa'rr'u, snoring snoa-rr'ing, roaring r'oa-rr'ing,
storing stoa-rring, sorer soa-rr'er. See p. 137.

OA'u, e. murmur diphthong, faulty form of oar,
which see.

OAuo, e. faulty form of ou, p. 47.

OA-uo, e. vanish of oa, p. 47*.

OA W y e. faulty form of ou, p. 47*.

OA-W, e. vanish of oa, pp. 47*, 55*, 124.
OAT, g. f.,p. 46*.

OE, g. f., see pp. 300, 31*, 390, 144*, 149*.
OEee, f. diphthong, see p. 470.

OEN', f. nasal vowel something like ung, sea
p. 410.

OUT, f. diphthong, see p. 470.

01, e. g. diphthong, p. 45*, i. andf. form, p. 46a.
Generally awl when final and strong, as boy *ot f

172

GLOSSIC INDEX.

Sec. XII.

(when this is weak, as footboy fuot'boi, the diph-
thong becomes o7) , coy koi, hoy hoi, joy joi, cloy
kloi t alloy alloi" (or uloi'j, employ emploi-, annoy
unoi' troy troi, destroy destroi', toy toi, buoy boi
(or *oo-), and this remains before inflexional d } z,
as destroys destroi' z, destroyed destroi' d, and even
poise poi-z t poised poizd, but before * it is more
frequently 01, and may be always so pronounced,
as oyster oi'ster, boisterous boi'stur'us, hoist hoist,
joist joist (not jois, nor jeis), foist foist ; before n
it is variable, as join join (notjein'), coin koin, loin
An (not few), point j!?ow (not j^). Ex. pp.
123*, 1340.

Oi, e., proper form of oi, especially before s,
p. 45*.

0/.K, e., commonly called waur, p. 520.

0Tw, e. attempt to pronounce ' choir, moire,' with
oi, see p. 520.

ON', e. substitute for f. ahn", p. 400.

00, e. g. i. f., see p. 36*, peculiar g. and Swedish,
p. 370, may be sung as wo, p.' 390. Long and
strong: do doo", who Aoo-, coo 00*, loo 00-, blue
0700', flew Jloo', glue gloo', clue, clew &/oo', slew
sloo' (or .s&w), pooh J000-, rue roo', brew br'oo-, drew
0>'0o', grew gr'oo', crew kr'oo-, strew str'oo', shrew
shr'oo- (formerly shroa'}, true tfr'oo-, threw, through
thr'oo', shoe sAoo-, too, two (and sometimes 'to')
00', woo woo', the Zoo 0"Ai Zoo-, food foo'd y cooed
#00'0*, glued gloo'd, slewed sloo-d, mood moo-d, snood
snoo'd, rude r'oo'd, brood br'oo'd, crude kroo-d,
strewed str'oo-dy shrewd shr'oo-d, shoed shoo'd,
wooed woo'd, foods foo-dz, broods br'oo-dz> mooda
moo'dz, booth boo'dh, soothe soo'th, soothed soo-dhd,
soothes soo'dhs, aloof uloo-f, roof r'oo'f, woof woo 1 /,
roofs r'oo-fs, roofed r'oo-ft, gouge ^ooy, fool/00'^,
ghoul ^oo^, cool koo-t, school skoo-l, pool jsoo'/,
spool spoo-ly rule 7*'oo'/, tool too'l, cooled koo'ld,
ruled r'oo'ld, schools skoo-lz, tools ^oo-/z, boom
boo-m, doom doo'm, whom hoo'm, Combe Koo'm,
loom foo'm, bloom bloo-m, gloom gloo-m, plume
ploo-m, (or pleu-m), room r'oo-m (not r'uoiri), broom,
Brougham br'oo'm (the latter not r'oa'e)ri), tomb
<oo';n, bloomed bloo'md, doomed doo'md, boon *oo'w,
loon foo'w, moon moo'n, noon woo', soon *oo'w (not

suon), moons moo'nz, hoop Aoo'ju, coop Jcoo'p, loop
foo-j3, poop ;;oo-j0, roop r'oo-p> droop dr'oo-p, group
groo'p, croup kr'oop, scruple skr'oo-pl, soup soo^?,
whoop whoo-p, hoops hoo-ps, groups gr 1 oo-ps, hooped
hoo-pt, drooped droo'pt y goose goo-s, loose loo's,
loosed loo-st, moot tnoo-t y root r'oo-^, brute br'oo't
(not br'eu't], fruit frooi (not fr'eu'tj, soot *oo'^ (or
swo^ or sutj, shoot shoo't, moots moo'ts, fruits
fr'oo'ts, shoots shoo-ts, uncouth unkoo'th, forsooth
faursoo'th, tooth too'th, tooth's too'ths, move moo'v,
prove pr'oo-v, moved moo-vd, proved pr'oo-vd, moves
moo - vz, proves pr' oo- vz. Long and weak, in closed
syllables: forenoon foa'rnoon, Blackpool Jllak-pool,
storeroom stoa'rr'oom. Short and weak, in open
syllables : into in-foo, unto un'too, influence in'-
Jlooens, rheumatic r'oomat'ik, rugose roogoa's^
rubescent roobes-ent. Ex. pp. lloa, 117, 1313,
182*.

O'O, e. prov., an 00 begun with the mouth open,
same as ww'oo, p. 37# and p. 55*.

ooAA, i. f., usually written waa, p. 49#.

OOaa, i. slurred diphthong, p. 148a.

ooAAee, i. close triphthong, pp. 45a, 49a.

ooAI, i. close diphthong, p. 49.

So AO, i. close diphthong, p. 49a.

ooAOee, i. close triphthong, p. 490.

oo E, e. form of we, as dwell dooel, p. 490.

ooEE, f. form of oui, usually written wee, pp.
460, 49*.

oo/, e. form of wi, as twin tooin, p. 490.

00*E, e., p. 50*, the murmur diphthong uo'u y
with permission to append a trilled r\ Strong and
long: boor boo-r, lure loo-r (or leu-rj, moor moo'r t
poor poo'r, sure shoo'r (or shewr). Weak and long:
Dartmoor Daa-rtmoor. See p. 1370.

OO'EE', e., meaning twitr', p. 50*. Long and
strong before vowels only, boorish boo'rr'ish, moor-
ing moo'rr'ing, poorer poo'rr'er.

OO'u, e., p. 50*, the murmur diphthong in oor,
which see.

00 Y, g. i. f., p. 46*.

OU, unanalysed diphthong with different species
in e. and others in g. i. f., see p. 47. Strong :

Sec. XII.

GLOSSIC INDEX.

173

bough, bow (v.) bou, thou dhou, how hou, cow kou,
plough plou, slough slou, mow (s.) mou, now nou,
row (noise) r'ou, brow brou, prow prow, sow (s.)
sou, vow vou, wow wow, couch, co witch kouch,
slouch slouch, pouch pouch, crouch kr'ouch, vouch
vouch, crouched kr oucht, vouched voucht, bowed boud,
cowed koud, loud loud, proud pr'oud, vowed voud,
bow-wowed bouwou-d, mouthe moudh, south (v.)
soudh, mouthed moudhd, southed soudhd, owl oul,
foul, fowl foul, howl houl, jowl joul, coul koul,
growl groul, prowl pr'oul, growled gr'ould, prowled
pr'ould, howled hould, owls oulz, fowls foulz, down
doun, gown goun, brown br'oun, drown dr'oun,
frown fr'oun, crown kr'outi, town toun, bound
bound, found found, hound hound, mound mound,
pound pound, round r'ound, browned br'ound
drowned dr'ound, frowned fr' ound, ground grr'ottnd,
crowned kround, sound sound, wound (p.p.) wound,
mounds moundz, pounds poundz, flounce flouns
pounce pouns, trounce tr'ouns, flounced flounst,
trounced trounst, fount fount, count kount, mount
mount, founts founts, mounts mounts, gowns gounz,
crowns krounz, hounds houndz, chouse chous, douse
dous, house hous, louse lous, mouse (s.) mous, grouse
gr'ous, souse sous, soused soust, out out, bout bout,
doubt dout, gout gout, lout lout, flout flout, pout
rout r'out, drought dr'out, sprout spr'out, trout
tr'out, shout shout, tout tout, doubts douts, trouts
tr'outs, shouts shouts, mouth mouth, south south,
cows kouz, ploughs plouz, brows br'ouz, prows
pr'ouz. Ex. pp. 123*, 134$, 135 a.

OTTER, e., p. 52*, two syllables, as distinct from
our, which see.

OU-ERR', e. form of ou-ur' , p. 526.

OTTR, e., p. 52*, murmur triphthong ou-u, with
a permissive trill r' after it. Long and strong:
bower bour, dower dour, cower kour, lour lour,
flower, flour flour, glower glour, power pour (but
pour poa-r, poo-r], sour sour, shower shour, tower
tour (but tour too-rj. See p. 137*.

OTJ-RR', e., p. 52b, meaning ou-ur'. Long and
strong : sourer aou'rr'er, sourish sou-rr'ish, cower-

ing kou-rr'ing, louring lowrr'ing, glowering
glou-rr'ingj towering tou'rr'ing. See p. 137*.

OTT-TIR', e. dissyllable, as flowery flou'ur'i,
p. 52*.

OY, e. abbreviated form of oee or 01, p. 46.

P, e. g. i. f., p. 63*. Initial before vowels : pat
pat, part paart, pate pai't, pall, Paul paul, petptt,
peat pee-t, pike peik, puisne, puny peu-ni^ pit pit,
pot pot, pole poal, poison poi-zn, poolpoo-l, pontpout,
pun pun, pull puoL Initial before I and r' : plait
plat, plaister, plaster plaa-ster, play plai- (orplai-y),
plaudits plau-dits, plenty plen-ti, plea plee, plight
pleit, plinth plinth, plot plot, plume ploo-m, plough
plou, pluck pluk, prattle pr'at-l, prance pr'aans,
praise, prays pr'ai-z, present pr'ez'ent, preach
pr'ee-ch, pride pr'eid, pretty pr'it'i, promise
pr'om-is, prone pr'oa-n, prude pr'oo'd, proud pr'oud,
Prussian Pr'mh-en (not Proo-sheri). Medial be-
tween vowels : clapper klap-er, apish ai-pish,
pepper pep-er, creeper kree-per, poppy pop-i,
popery poa-pur'i, looping loo-piny, supper sup-er
Double between vowels : the top pinnacle dhi top
pin-ukl, soup plate soo'p plai-t, pump-powerj9^mj9'-
pour, to chop poles too chop poa-lz, slop-pail slop--
pail, to gallop post haste too gal-up poa-st hai'st.

P, e. click afterj^ final, p. 63*, 94*.

PI", g., sometimes^/, p. 660.

P-H, g. post-aspirated, p 63*.

P Q H, e., flatus after final p, p. 63*, 94*.

'PR, theoretical flated lip trill, p. 66.

R, e., p. 530 (not g. i. f., p. 550), a direction to
make a murmur diphthong or triphthong with
preceding long vowel or diphthong and add a trill
r 1 at pleasure, see aar air aur eer eir eur oar, oir t
oor, our; also a direction to pronounce preceding e
in strong syllables as w long with a permissive
trill r' after, and in weak syllables to pronounce u
short with or without a loose glide on to a follow-
ing r', pp. 530, *, 126*, see er.

R', e. g. i. f., p. 74*, much weaker in English
than in Italian. Initial before vowels: rat r'at,

174

GLOSSIC INDEX.

Sec. XII

rascal r'aa'skel, rail r'ai'l, rare r'ai'r, wrought
r'au't, wretch r'ech, reach ree'ch, writer r'eiter,
writ r'it, rot r'ot, roam r'oa'in, roysterer roi' stumer,
room room, rout r'out, rut r'ut. Initial r' does not
occur before consonants. Medial between vowels :
Harry Har' -i, starry staa'r'i (or staa'rr'ij, meiTy
mer-i, spirit spir'-it, sorrow sor'-oa, hurry hur''i.
See also aarr', airr', eerr', eirr', eurr', oarr, oorr\
ourr 1 and err'. Final r' never occurs in English
except as a permissive trill, see r. Inserted r',
p. 515. Ex. pp. 136138.

", e. provincial, e. 'dental r' after t\ d\ in
which case it possibly also occurs in g. i. f., p. 745.

( R, f., Parisian ' uvular r,' p. 835.

".K, Northumberland uvula rise, p. 840.

( H, e. provincial ' reverted r,' p. 760.

(( R, e. ' untrilled r,' or ' point rise,' p. 760, for
which in London is always substituted r, which
see.

,R, Danish ' glottal r,' or croak, p. 605.

H, flated form of r', p. 745.

"&, flated form of r", p. 745.

1 EH, flated form of V, p. 835.

'UW', Northumberland labialised uvular l r, p.
840.

S, e. g. i. f., p. 705. Initial before vowels : sat
sat, serjeant, sergeant saa-rjent (not ser'jent), same
stti'm, sought sawt, set set, seal see'l, sight seit, suit
seu't (not soo't or shoo't], sit sit, sop sop, soap so0'j9,
soy soi, soup soo'^, sow (s.) sow, sun, son em, soot
suot (or soo'^ or suf). Initial before consonants:
sphere sfee-r, scatter shatter, skate skart, scare
skaiT, scald sTcawld, sketch sJcech, scheme sltee'm,,
sky ^i (not sky'ei or sky'iei-}, skewer skeu-er, skip
sij9, scot s^o#, scold skoa'ld, school skoo'l, scowl
skoul, scull A;w?, scrap skrap, scratch skr'ach,
scrape skrai-p, scrawl skr'au'l, scroll skr'oa'l,
scrutinise skr' oo'tineiz, scrub skr'ub, squall skwawl,
squeeze skwee f z, squat skwot, slam ^am, slate slai't,
slaiighter slau'ter, sledge slej\ sleet slee't, slight,
sleight skit, slew sleu (or /oo), slit slit, slop sfop,
slope sloa'p, slouch slouch, sludge sluj, smatter
mat'er, smart smaa'rt, smite smei't, smit swi^,

smock *moA:, smoke smoa-k, smooth smoo-dh, smudge
smujj snap snap, snarl snaa'rl, snake snai'k, snort
snau'rt, sneak snee'k, snipe snei'p, snivelled snivld,
snob snob, snore snoa'r, snooze snoo-z, snout snou-t,
snub snub, span span, spark spaa-tk, spake spai'k,
spectacle spek'tukl, speak spee'k, spike spei'k,
spume speu'm, spin sjinw, spot *j90^, spoke spoa'k,
spoil sjooi/, spool spoo'l, spouse sjs>o<2, sponge spunj\
splash splash, splay splai', splenetic splen-etik (not
splenet'ik], spleen splee-n, splice spleis, split */?^,
splutter splut-er, sprat spr'at, spray spr'ai, sprawl
spr'au'l,, spread spr'ed, spree spr'ee-, sprite spr'eit,
sprinkle spr'ingk'l, spruce sproo's, sprout sprout,
sprung spr'ung, stand stand, starling staa'rling,
state toi^, stair stai'r, stem s^m, steam stee'm,
stile, style s^i^, still **W, stolid stol-id, stole *to^,
stool stoo'l, stout stout, stuff sw/, straggle strag'l^
straight str'ai't, straw str'au", stretch str'ech,
stream str'ee-m, stripe str'eip, strip str'ip, strop
strop, stroke str'oa'k, strut str'ut, swagger swag-er,
swarthy swaa'rthi (or swau'rthi), swelter swel'ter,
sweet swee't, swine swein, switch swich, swab swob,
swollen swoa'ln, swoop swoo'p, swam swum. Medial
between vowels : hassock has-uk, asses aa'sez,
tracing trai-sing, sauces sau-sez, messes mes-ez,
piecing pee' sing, spicy spei'si, missing mis-ing,
tossing tos'ing, (or tau'sing}, mossy mos'i, doses (s.)
doa'sez, choices choi-sez, spruces sproo-sez, douses
dou'sez, fussing fus-ing. Final after vowels : gas
gas, ass aa-s, case kai's, sauce saws, chess ches,
piece pee- s, spice speis, use eu-s, miss mis, moss mos/
close kloa-s, rejoice rijoi's, loose loo's, mouse mous,
fuss fus. Double between vowels or a vowel and
consonant : missent missen't, Miss Smith Mis
Smith, Mrs. Stiles Mis'is Stei'lz, Miss Strange, Mis
Strai'nj, this stretcher dhis stretcher, this story
dhis stoa-rr'i, this stew dhis steu. See p. 1215.
<S", e. modification of * after t, pp. 705 to 710.

SH, e. g. i. f., p. 710. Initial before vowels:
sham sham, sharp shaa'rp, shale shai-l t shawl
shau-l, shed shed, sheet shee't, shine shein t shin
shin, shot shot, shoal shoa'l, shoe shoo', shout shout,
shun shun, shook shuok. Initial before the con-

Sec. XII.

GLOSSIC INDEX.

175

sonant r" : shrapnel shr'ap'nel, shred shred, shrike
shrei-k, shrill shril, shrewd shr'oo-d, shroud
shroud, shrub shrub. Medial between vowels :
hashing hash-ing, meshing mesh'ing, leashing
lee'shing, wishing wish'ing, galoshes gulosh'ez,
flushes/?**/^-;. Final after vowels : splash splash,
mesh mesh, leash lee-sh, wish wish, bosh bosh, gush
gush, bush buosh, push j)uosh. Double : I wish
she'd do it ei wish shee'-tf doo it, do you wish shells
to-day ? doo eu wish shelz toodai' ? the bulrush
shakes dhi buol-rush shai'ks, boyish shame boi'ish
shai'm, vanquish shams vangk'wish shamz, ice-
bergs crush ships ei'sbergz krush ships. Seep. 1215.

SIT , e. variety of sh after tij in ch, which is
really ty 'sh ', see pp. 490 and 1455.

SZ, g. initial, for z, see p. 720.

T, e. (the g. i. f. form is *'), p. 690. Initial
before vowels : tap tap, tart taa-rt, tata ! taa'taa- !
tail tai'l (not tai-yl], taught tau't, text tekst, teach
tee'ch, tile teil, tune teww, tick tik, top fop, toad
toa'd (not toa'wd], toil foi/, tool fo<r, town foww,
tub tub, took tao&. Initial before consonants: tl
is often $0^ for kl, but it is not acknowledged :
track trak, trash tr'ash, trail tr'ai'l, trawl trawl,
tread rW, treat tree't, trite r'<?i, trip fr-'ip, trot
r'o, trope tr'oa'p, troy r'oi, truth troo'th (not
tr'uoth], trout tr'out, truck tr'uk. Medial between
vowels: patting pat'ing, prating pr'ai'ting, tighter
tawter (sailor's pronunciation, tevter received),
tutor teu'ter, titter tit'er, boating boa'ting, adroiter
adr'oi'ter, mobted moo-ted, pouting pou'ting, shut-
ting shut-ing, putting puot'ing. Double: boot-tree
boo'ttree, to hit two too hit' too', that time dhat'
term, wet turf wet' ter'f, most terrible moa-st ter-'ibl
(the first t is commonly omitted), Mat told me Mat-
toa'ld mce, bat-trap-and-ball bat'trap'nbau'l.

T\ g. i. f. form of t, for which Englishmen may
use t without hesitation, see d" and pp. 69#, 76,
145a, 148, 1495.

t T e. provincial reverted t, most probably used
before t r in the "West of England, p. 69i.

T, e. click after t final, p. 94*.

T*H, e. flatus driven out after t final, p. 90.

T-H, e. faulty post-aspirated t, p. 92.

TH, e., see p. 685. Initial before vowels : thatch
thach, thaw thau, theft theft, theme thee m, thigh
thei t thermic thermik, thews theu-z, thick thik,
thong thong, thole-pin thoa'lpin. thousand thou'-
zend, thumb thum. Initial before consonants :
thrash thrash, thrave thr'ai'v, threat thr'et, three
three, thrive thr'ei'v, thrift thr'ift, throng thr'ong,
throat thr'oa-t, through thr'oo', thrust thr^ist,
thwack thwak, thwart thwawrt (or thwaa'rf).
Medial between two vowels, not found, but
between a vocal and vowel sometimes, as wealthy
wel-thi, filthy fil'thi. Final after a vowel : hath
hath, faith fai-th, breath br'eth, wreath r'eeth,
earth erth, youth eu'th, pith pith, wroth r'oth (or
r'au-th], broth br'oth (or brau-th], both boa'th (not
boa'dti), tooth too'th, mouth (s.) mouth (v. moudh),
doth duth. Double : both thank you boa'th thangk
eu, both thieves boa'th thee'vz, uncouth thought
unkoo'th thau't.

THDH, e. provincial beginning with flatus and
proceeding to voice, sec dhth and p. 92#.

T'JT, advanced s, the Spanish z, see p. 705.

TS',e. final in cats kats, may be used for the g.
and i. initial fs 1 , which see, and p. 705.

T'S', g. i. initial z, see p. 70.

TW, e., probably the proper form of the sound
written tw in twine twein, pp. 49, 83.

TT' e. attempt to say t and y at once, p. 800.

TTSH', the real analysis of ch, p. 800.

U, e., pp. 340 and 5, 360, 395, for which uu is
very frequently used in strong syllables, p. 345,
and may be practised in the following examples.
Strong and short : chub chub, dub dub, hub hub,
cub kub, blub blub, club kh(b, snub snub, rub r'ub,
grub grub, scrub skrub, shrub shr'ub, trouble
tr'ub'l, sub sw5, tub ^5, rubbed mJc?, snubbed
snubd, clubbed klubd, hutch hue h, cluch kluch,
much 7mcA, such such, touch tacA, clutched klucht,
touched tucht, bud 50", cud kud, scud s&wrf, blood
blud, flood ^wo", mud WW0", puddle pud- 1, sud sw0*,
thud thud, buds 5wk, suds s?/0z, buff buf, chough
chuf, duffer duf-er, huff Aw/, cuff &/, scuffle
skufl, luff J/, bluff bluf, fluff /w/, muff mw/, snuff
snuf, puff pw/, rough, ruff r'uf, gruff ^rw/, scruff

176

6LORSIC INDEX.

Sec. XII

skruf, tough tuf, puffs pufs, roughs r'ufs, puffed
puff, cuffed kuft, tuft tuft, tufts tufts, bug bug,
dug dug, hug hug, jug jug, lug /wy, slug slug, mug
wwy, pug pug, rug r'wy, drug dr'ug, shrug shr'ug,
struggle strug-l, tug tug, thug tfAw^, hugged AM#^,
shrugged shr'ugd, mugs mugz, hugs hugz, tugs tugz,
budge %', fudge fuj, judge >/, sludge %', smudge
smuj, nudge nuj, drudge dr'uj, grudge gruj, trudge
tr'uj, nudged nujd, drudged dr'ujd, buck buk, chuck
chuk, duck duk, luck luk, cluck kluk, pluck pluk,
muck w&, puck JSM&, ruck r'uk, struck str'uk,
truck tr'uk, tuck w&, stuck sw&, ducks duks,
trucks truks, plucked plukt, tucked tukt, dul dul,
gull gul, hull 7m, cull kul, lull M, mull WM, trull
tr'ul, bulb M/, bulbs bulbz, dulled tfwW, lulled
Jw&?, gulf gulf, gulfs ^M(/JS, bulge bulj, bulged buljd,
bulk M/&, hulk hulk, sulk swJ&, hulks hulks, sulks
sW&s, sulked sM/AY, Hulme Hulm (generally Hoom),
culm kulm- (in one syllable), gulp gulp, pulp JPW^,
gulps gulps, gulped gulpt, hulls Awfo, culls kulz,
chum eAww, dumb c?ww, gum gum, hum Awm, come
hum, scum skum, glum glum, slum slum, mum mum,
numb num, rum r'um, drum dr'um, crumb kr'um,
strum strum, thrum thrum, sum, some sum, thumb
thum, drummed dr'umd, thumbed thumd, bump
bump, chump chump, dump dump, hump hump,
jump jump, lump lump, clump klump, plump plump,
pump pump, rump r'ump, frump fr'ump, grump
gr'ump, trump trump, thump thump, jumps jumps,
mumps mumps, thumps thumps, bumped bumpt,
humped humpt, thumped thumpt, comes kumz,
drums dr'umz, sums sumz, thumbs thumz, bun bun,
dun dun, fun fun, gun gun, nun, none nun, pun
pun, run r'un, sun, son sun, shun shun, tun, ton
tun, one, won wun, bunch bunch, hunch hunch,
lunch lunch, munch munch, punch punch, crunch
kr'unch, munched muncht, crunched kr'uncht,
dunned dund, shunned shund, lunge lunj, plunge
plunj, plunged plungd, once wuns, hunt hunt, blunt
blunt, punt punt, runt r'unt, front frunt, grunt
gr'unt, shunt shunt, stunt stunt, wont wunt (often,
but occasionally woa-nt, which is properly won't),
hunts hunts, grunts gr'unts, shunts shunts, buns
bunz, guns gunz, bung bung, dung dung, hung hung,

, clung klung, slung slung, wrung, rung
r'ung, sprung spr'ung, strung strung, sung sung,
tongue tung, bunged bungd, bunk bungle, funk
fungk, hunk hungk, junk jungk, slunk slungk,
monk mungk, drunk dr'ungk, shrunk shr'ungk,
trunk tr'ungk, sunk sungk, bunks bungks, hunks
hungJcs, monks mungks, funked fungkt, bungs
bungz, tongues tungz, cup Jcup, pup pup, sup sup,
cups kups, pups jwj!?s, buss #MS, thus dhus, fuss /MS,
Russ R'us, busk iwsA;, dusk <Zw5^, husk husk, musk
rusk r'usJc, tusk <ws^, husks husks, tusks
cusp ^?^sj9, cusps kusps, cusped kuspt, bust
&, dust dust, fussed fust, disgust disgus't,
just just, lust Jws, must must, rust r'e^, crust
kr'ust, trust tr'ust, thrust thr'ust, busts
trusts trusts, gush #sA, hush AwsA, lush
blush blush, Hush' flush, plush plush, slush
rush r'wsA, brush br'ush, crush kr'ush, thrush
thrush, tush tasA (the tushes of a boar are some-
times tuosh'ez), gushed gusht, hushed husht, butt
but, gut #, hut hut, jut /w, cut A-w^, glut glut,
slut sw, nut nut, put (s.) j*?w, rut r'ut, strut 5^rM<,
soot SM^ (or suot or oo^), shut shut, tut rw, huts
AM^, nuts nuts, struts str'uts, doth duth, above
ubuv, dove rfwv, love luv, glove yftw, shove shuv,
loved ?MVC?, shoved shuvd, doves ?wvz, gloves ^^MVZ,
does (v.) <?M2, fuzz /MZ, buzz buz. Weak and short,
in open syllables, never uu, but often u' ; final and
initial, when written a may be a', and may be
always so sung, generally written a, which see;
before r' always u, being the remnant of weak er,*
in which the permissible trilled r 1 in given entirely
to the following vowels. Initial: abandon uban--
den (or a'ban'deri), abase ubai's (or a'bai-s), ablaze
ublai'z (or cCblai-z], abolish ubol'ish (or a'bol'isti),
account u-kount (or a'kou-nt], adapt u-dap-t (or
adap m t), affair u-fai'r (or a'fai'r), afront, affront
u-fr'un't (or a'fr'un't], alone u-locrn (or a-lwn),
amass u-maa-s (or a-ma's'}, approve u-pr'oo-v (or
appr'oo-v, a'pr'oo-v), award uwawrd (or a'wau'rd).
Final, see . In the middle of words, weak u is
not more than slurred on to the following letter :
appanage ap-u-^-nej, ratable rait-u-^-bl, heritable
, notable not-u-^-bl, comfortable Jcum'-

eec. XII.

GLOSSIC INDEX.

177

fertu-^bl, mutable mewtur^-bl, primary prei'
finery fei'nu-^-ri, every evu~r'i. See also u\
Note that in possible, positive, and such words u~
must not be used, say pos-ibl, poz'itiv, not pos-ubl,
pnz-ntiv, nor yet pos eebl, poz'eetiv. Ex. pp. 1190,
1203, 1310, 1320.

T, e. provincial form of uo, p. 373.

U", e., the possible form assumed by weak 'a,'
see a weak, and u weak, and pp. 343, 380 ; may be
sung as u, p. 390.

UA, provincial e , p. 343.

HE, g. f., described p. 29, confused with ee i in
German, but not in French, p. 393 ; how it differs
from oo, p. 370. See also pp. 1440, 6, 1490.

ueEE, f . diphthong ui, see p. 493, and uee$, p. 1493.

UEY, variety of ueee, p. 470.

Ui, e. , one of the best spoken forms of the diph-
thong ei, a i being another ; the singer's form is
aai, p. 440.

TTiu, e. form of the murmur triphthong eiu,
involved in eir, see p. 520.

Vn', e. substitute for f. oeri , p. 400.

HO, e. g., used in place of short oo in closed
syllables, much used in the provinces in place of u,
p. 373. Short and strong : good guod, hood huod,
could kuod, should shoud, would, wood wuod, book
buok, hook huok, cook kuok, look luok, nook nuok,
rook 7-' MO A, brook br'uok, crook kr'uok, shook shuok,
;ook tuok, bull buol, bullion buol' yen, full fuol, pull
puol, pulpit puol-pit, bush buosh, cushion kuosh-en,
msh puosh, tush tuosh (or tush], foot fuot, soot
mot (or soo-t or sttt). Ex. pp. 1190, 1210, 1320.

110 ', acute uo, or uo pronounced for high notes
with open mouth and contracted arches, p. 383.

UO ii, e., the real form of the murmur diphthong
n on-r, p. 503.

UOur , e., the real form of oo'rr" , which see.

UU, e , a very common pronunciation of u, in
'.trong syllables, see M, and pp. 340, 360, 39.

UU\ e., the sound of oo when the lips are
pened, see do, p. 370.

UlTi, e., a form of ei, just admissible in speech,
>. 440.

Uuo, e., one of the best forms of the diphthong
ou, of which a'uo is another ; the singer's form is
aauo, see p. 470.

Uuo, e., an admissible form of ou, p. 470-

uuOA, e. provincial lip glide, a faulty form of
00, p. 553.

uu 00, e. provincial lip glide, a faulty form of
oo, written do, pp. 370, 553.

TJuou, e., the murmur triphthong ouu involved
in our, p. 523.

UUuo, e., a faulty form of ou, p. 470.

VU-uo, e., a very faulty form of ou, p. 470.

UUY, abbreviated form of uui, or uuee, p. 460.

UT, abbreviated form of ui or uee, p. 460.

V, e. i. f., p. 673. Initial before a vowel : vat
vat, vast vaa-st, veil, vail, vale vai~l, vaunt vau'nt
(orvaa-nt), vault vau'lt, vegetable vej'itubl, velvet
vel-vet, veal vee-l, vile veil, virtue ver'teu, view veu',
victuals vit-lz, villain vil-en, volley vol'i, void void,
vouch vouch, vulgar vul-ger. V is not found initial
before a consonant. Medial between vowels
navvy navi, lava laa-vaa, navy nai'vi, bevy
bevi, levy levi, leaving lee-ving, Levi Lee-vei,
striving str' ei'ving , serving serving, living living,
sovereign sovurin (or sovr'in, some say suvrin,
but this is archaic), coving koa'ving, moving moo-v-
ing, shoving shuving. Final after a vowel : have
hav, stave stai'v, reeve r'ee-v, alive ulei-v, serve
serv, sieve siv, grove groa v, groove groo~v, love
luv. Double : love virtue luv ver-teu, sportive vice
spoa-rtiv veis, a festive voice u fes-tiv vois, a live
Vandal u leiv Van- del, five vowels feiv vou'elz,
above vaults ubuv vau-lts, five villains feiv vil'enz,
twelve vines twelv veinz. Ex. p. 1220.

V, g., the sound of g. ' w,' see p. 650, 3.
VF, e. final v at end of a phrase, as : I see five,
all alive? ei see feiv f, au'l ulei-vf ? seep. 933.

W, e. p. 64, used in Glossic of i. f. for oo, form-
ing a diphthong, as wee for ooee, see p. 823. Initial
before vowels : wag wag, waft waa-ft, waif wai'f,
water wau'ter, wet wet, weal wee- 1, wile wei-l, work
werk, wit wit, wot wot, woke, woa-k, woo woo*

178

GLOSSTC EVDEX.

Sec. XII

wound (part.) wound (in to wound, a wound,
usually woo'nd, but soldiers all ay wound}, wood
wuod. W is not found initial before consonants,
medial, or double. Ex. p. 1220.

WAA, abbreviated form of i. and f. ooaa, p. 490
and p. 500.

WAAY, abbreviated form of i. and f. ooaaee,
p. 500.

WAE, abbreviated form of f. ooae, p. 493.

WAEN', abbreviated form of f. ooaen' , p. 49 1>,
and p. 500.

WAI, abbreviated form of i. ooai, p. 493.

WAO, abbreviated form of i. ooao, p. 490.

WAOY, abbreviated form of ooaoee, p. 500.

WE, e. abbreviated form of ooe, p. 490.

WEE, abbreviated form of f. ooee, p. 490.

WI, e. abbreviated form of ooi, p. 493.

WY^EE, form of ueee, not used, p. 500.

WH, e. p. 643. Initial before vowels : whack
whak, whale whavl, wharf whau-rf, whet whet,
wheel whee-l, while wheil, whirl wherl, whit whit,
what whot. Wh is never found initial before a
consonant, medial, final or double. As the sound
of wh is dying out very generally in the South of
England, and it is advisable to retain it, the
following contrasts should be observed, and
sedulously practised : whale, wail whai-l, wavl,
what, wot whot, wot, wheal, wheel, weal whee-l,
wee-l, when, wen when, wen, where, wear whai'r,
^vai'1', whet, wet whet, wet, whether, weather,
wether whedh'er, wedh'er, whey, way whai', wai',
(or whai-y, wai-y], which, witch which, wich, whig,
wig whig, wig, while, wile wheil, weil, whiled, wild
wheild, weild, whin, win whin, win, whine, wine
whein, wein, whirld, world wherld, werld, whist,
wist whist, wist, whit, wit whit, wit, white, wight
wheit, weit (Isle of Wight Eil ov Weit], whither
whidh-er, whort, wort whert, wert, why, Wye whei,
wei. Ex. 1215.

' WR, e. faulty tight lip trill for r, see p. 663.

WY\ f. abbreviated form for ue diphthongs,
p. 500.

Y, e g., p. 783, in i. f. it is used in Grlossic for ee
vr i, forming a diphthong with the following vowel,

p. 480, 3. Initial before vowels : yam yam, yak yak
yankee yangk'i (sometimes yangK'kee), yard yaa'rd
jQ&yai (not yai-y], Yale Yai-l, yawl yawl, yawn
yau-n, yet yet (not yit], yes yes (not yis, or is)
ye yee (not ee}, year yee-r (not ee~r], yield yee-ld (not
ee-ld),yea,n yee-n (not ee-ri), yeast yee-st (not ce-st
sometimes yest], yearn yern, yew yen (that is,
yioo], yule yeul (that is, ywo-l), yacht yot, yolk,
yelk yoa-k ("yelk" is sometimes yelk], yoicks!
yoiks ! you eu (that is, yoo], your eu~r that is
yoo'r ; when weak, often yer], you'll ewl that is,
yoo'l], youth eu-th (that is, yoo-th], young yung.
Y is not found initial before consonants, medial,
final, or double in received English. Some e.
speakers say eey for ee final, some g. faulty
speakers say yr'- and yl- for gr',- gl- initial.

YAEY, form of i. eeaaee, p. 490.

YJEUior yioo, a form of e. eu, p. 480, 3.

YWO, a form of e. eu, p. 483.

YH, e., p. 79a, initial in yheu hue, hew, Hugh,
yheewmen human, Yheum Hume, Yheuz Hughe
These words are often pronounced htoo, hloo'me
Ifioo'm, ITioo'z, which are written heu, heu'men,
Heu-m, Heu-z. The singer uses the form hwo.

YOO, form of i. eeoo and e. too, pp. 483, 49a.

Z, e. g. i. f , p. 720. Initial before vowels :
Zantiote Zan'tiot, zany zai'ni, zealous zel'us, zeal
zee'l, zero zee'rr'oa, zinc zingk, zocle zok'l (also
socle sok-l), zodiac zoa-diak, zone zoa-n, the Zoo dhi
Zoo^, zooks ! eoo-ks ! (or zuoks, gone out of use),
zounds zoundz Z is not found initial before con-
sonants. Medial between vowels : hazard haz-erd,
mazard maz-erd, lazy lai'zi, mazy mai'zi, pleasing
plee'zing, wiser wei'zer, Mersey Mer-zi, kerseymere
kerzimeer, Pusey Pewzi, gizzard giz-erd, wizard
wiz'erd, positive poz'itiv, posy poa-zi, rosy r'oa'zi, ,
losing loo-zing, oozy oo'zi, drowsy drou'zi, carousing
kur'ou'zing, buzzing buz'ing. Final after vowels :
has haz, baas baaz, baize, bays 30rz, gauze gau'z,
gnaws nawz, fez fez, fees fee~z, freeze free'z, wise
weiz, prize preiz, pies peiz, firs, furs forz, ewes,
use (v.) eu'z, his hiz, pose poa-z, knows, nose noa'z,

Sec. XII.

GLOSSIC INDEX.

179

boys boi-z, lose loo~z, shoes shoo-z, brows, browse
trouz, buzz buz. Final after consonants : cubs kubz,
adds adz, breathes bree-dhz, eggs egz, bells belz, jams
jamz, nuns nunz, songs songz, loves zwz, saves sai'vz,
waves wai-vz. Double : his zeal hiz zee-l, wise zeal
iveiz zee'l, it flies zigzag it flelz zig-zng, he shews
zest hee shoa'z zest, prize zinc preiz zingk, his zone
hiz zoa-n. Ex. p. 1220.

Z\ advanced z, heard in i. initial d'z , see p. 720.

ZH, e. f., see p. 720. ZA does not occur initial,
final, or double in e., but is frequently initial and
final in f Medial between vowels : division di-
vizh'en, occasion okai'zhen, invasion invai'zhen,

persuasion perswai'zhen, adhesion adhee'zhen, de-
cision disizh-en, vision vizh-en. revision rivizh'en
fusion feu-zhen, conclusion kunkloo-zhen, delusion
dileu-zhen (or diloo-zhen , intrusion intr'oo-zhen, con-
tusion kunteu'zhen, pleasure plezh'er (or plezh'eur]
measure mezh'er (or mezh'eur"), treasure trezh'er (or
trezh-eur], erasure eerai'zheur, leisure lezh'er (or
lezh'eur, sometimes lee'zher or lee'zheur), closure
Jcloa'zher or kloa'zheur], exposure ekspoa'zher (or
ekspoa-zheur). Ex. p. 1220.

ZH\ e., the ge in judge juj, which, when fully
analysed, is dtfzKudyzK , p. 800.

ZS, e., final z at the end of a phrase, as 'tis his
tiz hizs, p. 93.

SIGNS.

I ' gradual,' a turned I, signifying the gradual
attack and release of voiced sounds, pp. 570, 920.

? A, the same made very perceptible, p. 570.

j ' clear,' a turned t, signifying the clear attack
and release of voice sounds, p. 57b.

(;) ' check,' a semicolon, signifying the check of
the voice, p 580.

(') 'bleat' or \anyn. turned semicolon, signifying
the Arabic bleat, p. 60*

) 'imploded' or 'flated' or 'clicked,' small
circle used for degrees, placed before a sonant,
makes it signify an implodent, p. 54'*, placed before
a vowel indicates flatus through the vowel position,
as ee, p. 560 ; placed before h as h makes it
signify simple flatus, p. 560 ; placed before h' as
%' makes it signify simple whisper, p. 56* ; placed
after a final mute, as t, indicates the gentle
English final click, pp 63.-/, 9-1 i

entirely, see the letters with these marks affixed in
the preceding index.

() ' accent,' turned period, placed after a vowel,
shews that it is strong and long, as mee't meat,
p. 105* ; placed after a consonant shews that the
next preceding vowel is short and strong, as
fam'ili family, p. 105*; placed before a word
shews that it is emphatic, p. 1050; placed after a
systematic diphthong, it shews that the strong
element is short, as ui'lid uylid eyelid, p. 43*. It
does not separate syllables.

(') ' sub-accent,' turned period, followed by an
apostrophe, placed after a vowel shews that it is
long and has a secondary accent, as v&rtilai''ted
ventilated, p. 1050, placed after a consonant, shews
that the next preceding vowel is short and has a
secondary accent, as dem-'oakr'at'ikel, p. 1050.
seldom distinguished from
ig. It does not separate

jfore a vowel shews it to be
['), p. 105*.

two letters, shews that
(between them, as u-\-i, that
I*. This is omitted except

180

OLOSSIC INDEX.

Sec. XII.

(-J-) ' slur,' between two letters, shews that there
is a ' loose glide ' or ' slur ' between them, as aa-^-ee
in Italian diphthongs, pp. 45a, 87. This is
omitted except in theoretical writing.

(...) ' break,' between two letters, shew that
there is a ' silence ' and no glide or slur between
them, p. 87b. When words are written separately
it by no means follows that there is no glide
between them, hence for theoretical writing,
although the close glide may be still omitted, the
slur (-f-) and the (...) should be used, and there
should be no separation between the words unless
there is a sensible pause. Thus : ' Command your-
self, if you would command others,' which in
ordinary Glossic would be kumaa-nd eursel-f if eu
wuod kumaa-nd udh'erz, would be theoretically
written ku-^-maa-nnd-^-yuousell'f..., if-'yoo-^-wuod
-~ku-~maa'nnd~udh'u~-z, where the nn, II shew
long vocals.

(-) ' hyphen,' between groups of letters, is used
merely to guide the eye in the separation of the
groups, 'as lue-ee, pot-hous, it does not indicate
gliding or slurring, except in such combinations
as aa-ai used to mark Italian slur, p. 45. It
may always be omitted when other means mark
the separation of the groups, as the accent mark
in pot'hous, or the gliding mark in lueee.

( w ) ' gliding mark ' in diphthongs, placed over
the letter or letters which represent a single vowel
sound, when it is weak and the preceding strong
vowel glides on to it and forms a diphthong, as
ui uuo, p. 43 ; when these weak vowels are i or ee,
it is usual to write y only, as uy, for either ui or
uee, p. 46r?, and when the vowel is uo or do, it is
usual to write w only, as uw, for either uuo or ooo,
p. 47* ; when the accent () is used, it is placed after
the first element when that is long, as aa~1 or aa-y,
and after the second element when the first element
is short, as am~ or aay, p. 43, and in weak syllables
t is omitted altogether. The gliding mark is also
used over the letter which represents a single
owel sound when it is weak and glides on to the
following strong vowel, as laa, ooaa ; when these
weak vowels are i or ee, it is usual to write y for

either, as yaa for \aa or eeaa, and when they are
So or uo, as ooaa, ooao, it is usual to write w, as
waa, wao. The length and strength of the second
element is then treated in the usual way. When
great phonetic exactness is required (as in discus-
sions) it is necessary to distinguish %aa, eeaa, yaa
accurately, and similarly for ooaa,, uoaa, waa. When
ue is one of the elements, the sign ought to be used,
as lueee, but lue-ee is often quite enough. When it
is necessary to mark the length of the weak ele-
ment, the long mark is used, as aaee, but this is
scarcely ever necessary. The aaee or aay leaves
the length of the second element generally un-
determined.

("} ' short,' over a vowel letter, or first of two
letters representing a vowel, when it is not
followed by a vowel, shews that it is short. Thus
the vowels ee, ai, aa, ao, oa, oo, being generally
long in English closed syllables, it is much easier
to the reader to see the short mark applied when
they are short in foreign languages, as meelky'h
milch, g., skydit-toa schietto, i., maan mann,g.,
aom homme, f., soat'toa sotto, i., pool poule, f.
This is unnecessary in g. i. f., because the rule
should be that the vowel is always short unless
marked long. In other cases the ( v ) is a ' gliding
mark.'

(") 'long,' over a vowel letter or first of two
letters representing a vowel when it is preceded by
a consonant and not followed by a vowel. This is
sometimes convenient in weak syllables, as prim--
roaz primrose, and is necessary in French where
no accent can be marked, as pahsyoarf passion, but
the long syllables are not carefully distinguished
in French speaking. In other cases (") is a
gliding mark. See end of Q ' gliding.'

(") 'medial,' over a letter, or the first of two
letters representing a vowel, shews that it has
medial length, p. 104#, as faast ; this is also repre-
sented by (:) before the vowel, a,sf:aast, p. 1055.

(') acute, after a vowel, spoken above the usual
pitch of the voice, p. 1044.

Sec. XII.

GLOSSIC INDEX.

1S1

(') detached, 'acute,' spoken above the usual
pitch of the voice, p. 104; attached, as in 60, 6ai
e'e, indicates certain provincial glides, p. 55b.

(") detached, 'grave,' spoken helow the usual
pitch of the voice, p. 1045 ; attached, used to
distinguish provincial u from no, p. 37b.

(") pitch glide from high to middle, p 104J.

Note that when the marks -j :_-' are
omitted (and they are unnecessary except for ex-
tremely refined phonetic work), Glossic can be

printed by any printer in any fount of types, and
has rather the appearance of a reformed system of
spelling with the old alphabet than of a totally
different and perfectly systematic orthography*
precisely indicating pronunciation, using the old
letters, indeed, but on an entirely novel system,
namely, the absolute restriction of one combin-
ation of letters to mean one combination of sounds,
so that given the one the other can be immedi-
ately determined with absolute certainty.

182

ENGLISH PRONOUNCING DICTIONARIES.

XIII. ENGLISH PRONOUNCING DICTIONARIES.

English Pronouncing Dictionaries Necessary.
Our language rejoices in such a remarkable orthog-
raphy, that no one who merely sees a word can be
quite sure how it should be pronounced, and no
one who hears a word can be at all sure how it
should be spelled. Both pronunciation and spelling
have indeed varied materially during the last six
centuries, and even during the last two centuries,
without any definite connection having been
established between the two. Hence arose during
the last hundred years a feeling for the necessity
of Pronouncing Dictionaries, which purpose by
additional marks, or by re-spelling the words,
according to some systematic phonetic principle, to
supply the necessary information. But here
another difficulty occurs, no one is empowered to
declare what is or should be the pronunciation of
English. In point of fact, English is spoken very
differently indeed in different parts of the country,
and material differences affect even men of the
highest education. We seldom fail to detect a
Scot, an Irishman, or an American after hearing
him speak a few words. Now our first English
pronouncing vocabulary was written by a Scot
(James Buchanan, in 1757) our first English
pronouncing dictionary was written by an Irish-
man (Thomas Sheridan, in 1780), and one of our
most widely-used pronouncing dictionaries at the
present day is by an American (Joseph E.
Worcester, 1847.) There is no doubt in my own
mLud (and I have devoted much time to the study
of this subject) that all three would have pro-
nounced their key words in different ways, so that

we can only approximate to the result by following
them. Moreover, I probably pronounce those key
words in a different way from any one of the
three. At the same time, if those who have
studied the value of the Glossic symbols from the
detailed account of them here given, pronounce
the key words as my symbols declare, and thence
deduce the value of symbols in pronouncing
dictionaries, he will arrive at results which will
be quite good enough for any practical purpose.
Different orthoepists (atirthoa-epistsj , or persons
who take upon themselves to declare what is the
correct pronunciation, differ in opinion from one
another. " Who's to decide when doctors dis-
agree ? " The only means is to listen to numerous
persons of education with whom the listener has
come into direct communication during a long
period of years. Even then very much more than
half the words of the language will never have
been heard, and can be pronounced only by the
analogy of those known. In giving the pro-
nunciation of numerous words in the preceding
Glossic Index I have often added an alternative
pronunciation, which I have frequently heard from
educated speakers, and I have also directed others
to be avoided, because I have found them to be
generally avoided among those who are thought
to speak decently. But whatever pronunciation is
there mentioned has been heard, and heard often.
My opportunities have been, education for four
years at a large private classical school, for three
and a half years at Shrewsbury school, for three
years at Eton College, for four years at Cambridge,

Sec. XIII.

ENGLISH PRONOUNCING DICTIONARIES.

183

constant communication since then with highly-
educated people, more than thirty years study of
speech sounds, with especial examination of all the
varieties of English speech, and nine years re-
search into the history of the changes of English
pronunciation, tracing them from century to
century. Yet with all this I do not presume to
decide. I have my own preferences, and I am. led
to believe from the general approval of my pro-
nunciation when reading in public, that those who
follow it, will not be held to make default, although
on many little points they might be called in
question by others, whose pronunciation I might
also perhaps call in question on the same, or
numerous other points. This is a matter for
personal choice. But beyond such limits there are
varieties in which no speaker can indulge without
being condemned as ignorant. H must never be
omitted, except on very rare occasions, and none
must ever be inserted where not written. Trilled
r' must never be added when no r appears in the
spelling. These three are heinous offences, which
some people never forgive. Ai must never ap-
proach to the sound of ei, nor oa to the sound of
ou ; neither must ei approach aey or oi, or ou
approach aew, oaw. No a must sound as aa, no u
as uo, or uo as u. No w must become a v, and no v
a w No er must be sounded as er' or iir 1 , with a
short vowel and trilled r\ All these usages mark
provincialisms or vulgarisms. Many others have
been already incidentally pointed out. While,
therefore, the boundary which separates received
from inadmissible pronunciation is by no means a
mathematical line, but is a sensibly broad band,
there are distinctly inadmissible pronunciations,
which all who wish to cultivate refined and careful
pronunciation must diligently avoid. No better
plan can be followed than learning accurately the
aature of sounds, and acquiring a facility in pro-
aouncing both one way and the other, because
when this is done, the ear and judgment cannot be
deceived, and the speaker consciously adopts a
particular pronunciation as the most desirable.
The difficulty always consists in making the

speaker conscious of differences, and capable of
understanding wherein they consist. In Shak-
speare's tragedy of " King John," Mrs. Charles
Kean had to use the word ' calf ' with great energy,
and Mr. Alfred Wigan had to repeat it after her
with equal force. The lady said ka-f, the gentle-
man said kaa-f, which had the effect of correcting
her pronunciation. Yet probably no one present,
except myself, perceived the difference. We are
so accustomed to listen to sense, and not observe
the sound by which it is conveyed, that when the
difference of sounds is within the limits of usage
it is not remarked, except by special observers.
'Calf is a word which is heard as kerf, ka'-f,
kaa-f, kaaf, hence there was nothing strange.
But if the lady had said kaf- (as some do, in ladies'
refined Yorkshire speech), and the gentleman had
said kao'f (as in Cumberland peasant speech ^ , the
effect would have been ludicrous, and Mr. Wigan
at least would have been greeted with a shout of
laughter.

For the ordinary words of songs, a pronouncing
dictionary ought never to be necessary, but as
speakers have no opportunity of hearing half the
words of any language in actual speech, they have
often to refer to such a book for assistance. Hence
I add the titles and key words and modes of
symbolisation adopted in some of the most acces-
sible of these works.

Walker. "A Critical Pronouncing Dictionary
and Expositor of the English Language, in which
not only the meaning of every word is clearly
explained, and the sound of every syllable correctly
shewn, but, where words are subject to different
pronunciations, the authorities of our best pro-
nouncing dictionaries are fully exhibited, and
reasons for each at large displayed, and the
preferable pronunciation pointed out. To which
are prefixed, Principles of English Pronunciation,
in which the sounds of letters, syllables, and
words are critically investigated, and systemati-
cally arranged, the influence of the Greek and
Latin accent and quantity, on the accent and

184

ENGLISH PRONOUNCING DICTIONARIES.

Sec. XIII.

quantity of the English, thoroughly examined and
clearly denned, and the analogies of the language
BO fully shown as to lay the foundation of a con-
sistent and rational pronunciation. Likewise,
Rules to be observed by the Natives of Scotland,
Ireland, and London, for avoiding their respective
peculiarities ; and Directions to Foreigners for
acquiring a knowledge of the use of this dic-
tionary. The whole interspersed with observations
etymological, critical and grammatical. By John
Walker, author of Elements of Elocution, Rhym-
ing Dictionary, &c , &c. Quare, si fieri potest, et
verba omnia, et vox, huj us alumnum urbis oleant ;
ut oratio RSmana plane videatur, non clvitate
donata. Quint. [Wherefore, if possible, let every
word and sound savour of a native of this city ;
that your speech may be unmistakably Roman,
and not Romanised.] The fourteenth edition,
London, 1814." 8vo, double columns. Prelim-
inary matter 92 pages, Dictionary 602 pages,
stereotyped. The first edition published in 1791.
The previous authorities referred to are Johnson,
1755; Buchanan, 1757; Entick, 1764; Kenrick,
1773; Ash, 1775; Perry, 1775; Sheridan, 1780;
Scott (new edition), 1797; Nares, 1784.

This is a most painstaking work, by a man who
devoted his whole time, thought, and energy to
teaching pronunciation. But he had not had the
advantage of a high education, or of associating
on equal terms from childhood with the children
of persons of high education. He was born at
Colney Hatch, Middlesex, 18th March, 1732, was
brought up to trade, became an unsuccessful actor,
quitted the stage in 1767, became a school master,
and in 1769 began to teach elocution. He died
1st August, 1807. His pronunciation, therefore,
belongs entirely to the last century, and it is
perceptibly antiquated. It is full of instruction
to those who wish to study the history of our
pronunciation, and remember the circumstances
under which the author acquired his knowledge.
But it is not a model to be followed at the present
day. Modern editions, and so-called "pocket
Walkers," are simply worthless.

WALKEK'S KEY WORDS,

As completely spelled by himself in the body of the
dictionary, not as imperfectly given in his list.
These have superior numbers 1 , 2 , &c , placed
actually over the letters, special types having been
cast, and this arrangement makes them rather
difficult to read. Here these numbers are placed
above and to the right for convenience of printing.
The French examples are given by himself. My
own pronunciation of these English and French
words is added in Glossic (in italics) .
a 1 . fa j te, pa ir -pu 2 r fai-t, pa'vper ; e in fee epee,

fai aipai.
a 2 . fa 2 r, fa 2 -THe 2 r, pa*-pa 2 ', ma 4 m ma 2 ' faa'r,

faa'dher, pupaa', mumaa' (or paapaa', maamaa') ;

a in fable, rable, fahbleo, rahbleo.
a 3 . fa 3 ll, wa'll, wa 3 -tu 2 r fau-l, wau-l, wau'ter ;

a in age, Chalons ahzh, Shahloan\
a 4 . fa 4 t, ma 4 t, maV-re 1 fat, mat, mar'-i ; a in fat

matin faat, maataen' orfa't, ma'taen'}.
e 1 . me 1 , he^e, me 1 '-te 2 r, me v -de 1 -u 2 m or me 1 '-

jV-u'm mee, hee'r, metier, mee-dyem ; i in

mitre, epitre meetreo, aipeetreo.
e 2 . me't, Ie 2 t, ge 2 t met, let, get ; e in mette, nette

maet, naet.

1 1 . p^ne, ti j '-tl pein, tei'tl ; ai in laique, naif
laa-eek, naa-eef.

1 2 . pi 2 n, ti 2 t'-tl pin, tit- 1; i in inne, titre eennai,
teetrai [quite different from tea-tray tee'trai*'].

1 . no 1 , no j te, no 1 '-ti 2 s noa, noa-f, noa'tis ; o in
globe, lobe gldob, Idob.

2 . mo 2 o 2 v, pro 2 o 2 v moo-v, proo'v ; ou in mouvoir,
pouvoir moovwaar', poovwaar 1 .

3 . no 3 r, fo 3 r, o 3 r, "like the broad a 3 ," naur f
fawr, au'r ; o in or, for, encor dor, faor, ahn'-

kaor'.

4 . no 4 t, ho 4 t, go 4 t not, hot, got ; o in hotte, cotte
aot, Mot.

u 1 . k^be, ku r -pi 2 d [not in the body of the work,
spelling taken from ku 1 -pi 2 d'-e 1 -te 1 keupid'iti]
teu-b, keu-pid; iou in Cioutat, chiourme Syootaa,
shyoor'm.

u 2 . tu 2 b, ku 2 p, su 2 p tub, kup, sup; eu in neuf,
veuf noef, voef.

Sec. XIII.

ENGLISH PRONOUNCING DICTIONARIES.

185

u 3 . bu 3 !, fu 3 !, pu 3 ! buol, fuol, puol; ou in boule,

f oule, poule bool, fool, pool.
O 3 i 2 . o 3 i 2 ! oil ; o'i in cycloide, heroi'que seekloa-eed,

air'oa-eek.
o 3 u 3 . THO 3 u 3 , po 3 u 3 nd dhou, pound ; aou in Aout

oo (could it have been aaoo in Walker's time ?)
th. Ai 2 ngk, th\~n. thingk, thin.
TH. THi 2 s, THa 4 t dhis, dhat.
g. ge 2 t, go*n, go 1 , gi 2 v, geVse get, gon (or gau'n],

goa, giv, gee's.

j. ji^'-a^t, ji 2 n'-j\i~-rjei'ent,jm-jer.
s. si 2 n, su 2 n, so 1 , si 2 t, se 2 nse sin, sun, soa, sit,

sens.
z. ro ] ze, ra j ze roa'z, rai'z.

Smart. " Walker Remodelled. A new critical
Pronouncing Dictionary of the English Language,
adapted to the present state of literature and
science, embodying the original stores of Johnson,
the additions of Todd and Webster, and many
words in modern use not included in former
dictionaries, exhibiting the pronunciation of words
in unison with more accurate schemes of sounds
than any yet furnished, according to principles
carefully and laboriously investigated : explaining
their meaning by classification and mutual refer-
ence, as well as by improved definitions ; /and
accompanied by i. Hints for surmounting defects
of utterance, foreign, provincial, vulgar, and im-
pedimental ii. An etymological index of common
terminations ; iii A key to the pronunciation of
Greek, Latin, and Scripture proper names ; iv. A
brief appendix on the pronunciation of modern
foreign names. By B. H. Smart, author of an
Outline of Sematology ; a Practical Grammar of
English Pronunciation ; Theory and Practice of
Elocution, &c. London, 1836." 8vo., double
columns. Preliminary matter 64 pages, Dictionary
and Appendices 738 pages.

This is still a valuable work of reference.
Although the author (who died a few years ago),
like all others of his time, had not quite an
adequate knowledge of phonetic relations, the
work shews much independent study, and is a

great advance on Walker. There are some pro-
nunciations which are rather archaic and "thin,"
and many which shew the elocution-master rather
than one in the habit of hearing and conversing
with people of high education. But certainly no
one could be blamed for adopting his pronuncia-
tions. He takes the "well-educated Londoner"
for his model, and does not allow quite sufficient
latitude of pronunciation. For study, the work is
indispensable.

In his spelling he adopts letters with numbers
over them in a few cases, here given by superiors.
He has a peculiar " script " character occasionally,
which is here represented by italics, and his italics
are distinguished by being placed between paren-
theses, as (a 3 ) A, the a being in italics and the h in
script, for th, dh he uses peculiar letters which are
here written th, TH, as in Walker. The mode of
indicating pronunciation is so singularly laborious
and intricate, that he avoids it whenever he can, so
that not half the words in his dictionary are spelled
at full according to this scheme, but the sounds
are merely indicated to belong to some preceding
word, by italics, &c., and even in his scheme he
has spelled only the syllable of the example con-
taining the peculiar sound at full. This occasions
considerable difficulty at times. The mode also in
which he has grouped his words according to
etymology often occasions delay in finding the
word required. The key words are here spelled
as in the body of the dictionary when they occur
there. The Glossic (in italics) gives my own
pronunciation.

SMART'S KEY WORDS.

" Note that a, e, i, o, u, y, w, h, so printed, are
mute, though in general significant : Note further
that the mark (") changed to ( : ), as a to a 1 ,
signifies a change in the quantity of the corres-
ponding accented vowel ; that an italic letter [in a
parenthesis] implies a change or corruption in
the quality; and that no change of indication
implies that there is no change of quantity or
quality, the difference in such case being merely

186

ENGLISH PRONOUNCING DICTIONARIES.

Sec. XIII

that of remitted accent. Note likewise that two
or more ways of marking a sound s, or c, or ss, for
instance) imply no difference in the sound itself."

1. a, ai, ay, gate, gait, pay, gai't, gai't, pai.

2. a 1 , a 1 *, a ! y, a 1 -e'-re 1 -(a)l, re'-ta 1 *!, gate-waV,
aier-'iel, ree'tail, gai-twai.

3. e, &e, ea, me, mete, meet [in the dictionary ; in
the scheme, meet, met], mee, mee-t, mee-t.

4. e 1 , e ] e, e ! y> de ] -fy, ped'-e^gre 1 ^, gal'-h^y,
difei', ped'igree, gal'i.

5. I, le, y, wide, deified', de^fy, weid, difei-d,
difei'.

6. I, le, y, i-de'-(a 3 ), for'-te'^fies, for'-te^fy,
eidee'u, fau'rtifeiz, fau'rtifei.

7. 6, da, 6e, ow, ow, no, bo#t, foe, sowl, "blow, noa,
boa~t, foa, soa-l, bloa.

8. o 1 , Q I W, o^bay', f ol'-lo 1 [in the dictionary ; in
the scheme, fol'-lo^], oabai-,fol-oa.

9. ii, ue, ui, cube, du [in the dictionary ; in the
scheme, due], suit, keu'b, deu, seu't.

10. u 1 , u j e, u^zurp', a'-gu 1 [a'-gi^e in scheme],
euzer'p, ai'geu.

11. a, man, chap'-m(#)n [in scheme here chap-
man], man, chap-men.

12. a, (a), ack-sept' [ac-cepf in scheme], chap'-
m()n [chap'-m(a)n in scheme], afrsept, chap--
men.

13. e, lent, lent.

14. e, si'.lent, sei'lent.

15. i, pit, pit.

16. i, saV-pit [saw'-pit in scheme], saw pit.

17. o, not, com'-m(o)n [common in scheme], not,
kom-en.

18. o, (o), pol-l'55t', c(o)m-mand', com'm(o)n,
pulewt, kumaa-nd, kom-en.

19. u, nut, ciis'-t t)rd, nut, hus-terd.

20. u, wa 4 wl'-nut, cer'-kus wau-lnut (or wau-nut],
ser'kus.

21. oo [the v is single but large, covering both
letters], good, hood, guod, huod.

22 oo, ch(i)ld'-h(oo)d [in scheme, child' -hood, in
the dictionary child, as a principal word, is given
as chiled, and the (i} refers to this] chei'ldhuod.

23. a 3 , a 3 A, p(# 3 )-pa 3 ', a 3 A, pupaa-, na.

24. ( 3 ), ( 3 )A,p(a 3 )-pa 3 ',man'-n( 3 ),mes-sI'-(2>,
pupaa', man'u, mesei'u (or man'aa, mesei'aa).

25. a 4 w, a.* we, atw, la%, a 4 w [a 4 we in scheme],
/aw, w.

26. a 4 w, jack'daw [jack'-da 4 w in scheme], jafr-
dau.

27. 65 [the ' is single but large and covering both
letters], p65l poo- 1.

28. oo, wAerl'-pool [where wh means hw ; whirr-
pool in scheme] wherlpool.

29. oi, oy, toil, boy, toil, boi.

30. oi, oy, tur'moil, foot'-boy, ter- moil, fuot- boi.

31. ou, ow, noun, now, brown, noun, nou, br'oun.

32. ou, ow, pro^-nown [apparently a mistake for
pr5'-nown], niit'-brown, proa-noun, mtt-br'oun.

33. ar=a 3 r, ar'-dent, aa-rdent.

34. ar, ()r=a 3 r, (# 3 ,r, ar-cade', dol'-l()r, aarkai'd
(or aakai-d], dol-er.

35. er, ir, er'-mm, ver'-tue, er-min, ver-teu.

36. er, (e)r, (i)r, com'-merce, let'-t(e)r, na'-d e)r,
kom'ers, let-er, iiai'der

37. or=a 4 wr, or'-d(e)r, au-rder.

38. or, (o)r, stu-por, sa,il'-(o)r, steu'per, sai'ler.

39. ur, ur'-gent, er-jent.

40. ur, siil'-fur, sul'fer.

41. are=a'ur, mare, mai'r [he writes mayor=
may- 'o)r=ma'-ur=mare].

42. a 1 re=a 1 ur, wel'-fa^e, wel-fair.

43. ere=e'ur, mere, mee~r.

44. e 1 re=e 1 ur, at'-mos-fe 1 re, at-musfeer.

45. Ire=I'ur, mire, mei-r.

46. ire=iur, em'-plre, em-peir.

47. 6re=5'ur, more moa-r.

48. o'-re=o'ur, raer'-fo^e dhai-rfoar.
4.9. ure=u'ur, mure, meu'r.

50. u 1 re=u 1 ur, fig'-u^e Jig-eur (or fig-yer 01
/yer.

51. 66r=66'ur, poor poo'r.

52. oor=oour, black'- (a) -moor, blak-umoor.

53. ower=ow'ur, power, pou-r.

54. ower=owur, c^^l-e^flower, kol-iflour.

55. ('), " A slight semi- consonant sound between
e 1 and y consonant, heard in the transition from
certain consonant to certain vowel sounds, as in

Sec. XIII.

ENGLISH PRONOUNCING DICTIONARIES.

187

lute (1'oot), jew (j'65), nature (na'-ch'oor) [in
the dictionary this is called " colloquial," and
na'-tu^e is given as the first form], g'arment
[in the dictionary gar'-ment], k'ind [in the
dictionary kined], leut (or loot), jeu (or joo ,
nai'teur (or nai'cher}, gaa'rment (not yyaa'rment],
keind (not kyeind}.
66. h, hand, per-haps' [meaning p(0'r-haps' ?]
ve'-he^ment hand, per-hap-s, vee'himent (or
vee'iment, vee-ument, the last is commonest).

57. w, we, be^ware', fro'-w(o)rd, hwe#t=hweet,
wee, biwai'r,froa'erd, whee't.

58. y, y65, yoo, eu; "And this sound is always
to be understood as present in u, u 1 , u ] re, which
are equivalent to yoo and yoor."

59. s, ss, also c or so before e or i ; sell, cell, sit,
cit, mass, sene^seen [scene], si'-ence [science],
set, sel, sit, sit, tnaa's (or maas'}, see~n, sevens.

60. z, zz, ze, zeal, buz, maze, zee'l, buz, mai'z.

61. sh, mish'-iin, mish'en.

62. zh, vizh'-iin, vizltoi.

63. ch, tch, [chair] chare, eetch, match, chai'r,
ee-eh, mach.

64. j, and also g before e or i, jog, jem, age, jm,
jog, jem, ai-jjin.

65. f, ff, fe, fog, cuff, Hie, fog, kuf, leif.

66. v, ye, [vain] vane, luv [lov<?], vai'n, luv.

67. th, thm, pith, thin, pith.

68. TH, THe, THen, WITH, breeTHe, dhen, widh,
bree dh.

69. 1, 11, \e, let, miU, sale, let, mil, sai'L

70. m, mm, me, may, ham'-m(^)r, blame, mai,
ham'er, blai-m.

71. n, nn, ne, nd, ban'-n(^)r, tune, noa, ban'er,
teu'n.

72. ng, ring, ring.

73. r, rr, "as audibly beginning a syllable; or being
one of a combination of consonants that begin a
syllable," ray, e^rect', uorid=florrid [in the dic-
tionary only FLOR'-ID, meant for flor-rid?], torrid
[meaning tor'-rid, in dictionary TOR'-BID, under
tor'-re l -fy], pray, spred, r'ai, eer'ek-t, flo^'id,
tor' 'id, pr'ai, spr'ed, " Under other circumstances
the letter is a sign of mere guttural vibration."

74. p, pp, p?, pop, siip'-p(tf)r, hope, pop, sup-er,
hoa-p.

75. b, bb, be, bob, rob'-b(e)r, robe, bob, rob'er,
roa-b.

76. k, ck, ke, also c final, and c before a, o, or u,
or a consonant, king, hack, bake ; an'-tick, cat,
cot, cut, claim, king, hak, bai'k, an-tik, kat, hot,
kut, klai'm.

77. g, before a, o, or u, or a consonant, gap, got,
gun, g^<ess, plagwe, grim, gap, got, gun, ges,
plai'y, grim.

78. t, tt, ie, ten, mat'-t(e)r, mate, ten, mat-er,
mai't.

79. d, dd, de, den, mad'-d(e)r, made, den, mad'er^
mai'd.

An Epitome of " Smart " is published.

Worcester. " A Critical and Pronouncing Dic-
tionary of the English Language, including
Scientific Terms. To which are added Walker's
Key to the Pronunciation of Classical and Serip-
ture Proper Names, much enlarged, and a
Pronouncing Vocabulary of Modern Geographical
Names. By Joseph E. Worcester. London, 1847."
Large 8vo., double columns. Preliminary matter
75 pages, dictionary and vocabulary 956.

Worcester is an American, so that possibly the
sounds he attributes to his key words may differ in
many points from those here given. But taken as
those, this dictionary is the most complete and
serviceable one I know. Wherever there is a
noticeable disagreement among Sheridan, 1780;
Walker, 1791; Perry, 1795; Jones, 1798; Fulton
and Knight, 1802; Enfield, 1807; Jameson, 1827;
Webster, 1828; Knowles, 1835; Smart, 1840; and
Reid, 1846, it is here given, and assigned to the
proper authority. Every word is respelled or
marked in a manner equivalent to respelling. The
preliminary account of pronunciation does not
enter at all into the principles of speech, but there
is a good deal of other interesting matter. The
vocabulary is altogether more complete and more
handy than Smart's. The principal defects are
the treatment of the unaccented vowels, and the
vocal r. The letter r is certainly differently pro-

188

ENGLISH PRONOUNCING DICTION ARETES

Sec. XIII.

nounced in America and in England. Ask any
American to pronounce the word America, and
listen. If, however, we read hy English rules the
whole book becomes clear and useful. Worcester's
marks for indicating pronunciation often require
new signs, and in that case they are here put in
italics or small capitals, and described. If not
otherwise mentioned, italics indicate under-dotted
letters. The spelling is that in the body of the
work, with the respelling if there given. The
unmarked vowels in a combination are mute. The
Glossic (in italics) gives my own pronunciation.

WORCESTER'S KEY WORDS.

1. a. fate, lace, aid, pain, player, plater, fai-t, lai-s,
ai'd, pai-n, plai-er.

2. a. fat, man, lad, car'ry, fat, man, lad, kar'-i.

3. a. [a with ' over it], fare, rare, pair par, bear
bar, fai'r, r'ai'r, pai'r, bai'r.

4. a. far, fa/TH^r, part, arm, oalm kiim, faa'r,
faa-'dher, paa'rt, aa'rm, kaa-m.

0. A. (a with a + above it), fAst, branch, grASp,
grAss [this is meant for ', stated to be "inter-
mediate between its short sound, as in fat, man,
and its Italian sound, as in far, father, 1 ' but
whether long, or short, or medial is not stated],
faa'st, br'aa-nch, graa-sp, gr'aa-s.

6. a. fall, hall, haul, wawk, warm, fau-l, hau'l,

hau'l, wau'k, wau'rm.
7- a. ll'ar, pal'ace, ri'vfll, ab'ba-cy, lerer, pal'es,

r'ei'vel, ab'usi.

1. e. mete, seal, fear, keep, mee-f, see'l, fee'r,
kee~p.

2. e. met, men, sell, fer'ry, met, men, sel,fer'-i.

3. e. like a, heir ar, THere THar, where hwar,
ai-r, dhai'r, whai'r.

4. e. her, herd, fern, fer'vid, her, herd, fern,
fervid.

5. e. brl'er, fu'el, cel'ery, br ever, few el, sel-ur'i.

1. I. pine, file, find, mild, fire, pein, feil, feind,
meild, feir.

2. I. pm, fill, miss, mir'ror, pin,Jil, mis, mirr''er.

3. i. like e, ma-^hlne', po-lice' po-les', mien
men, m-rme' m-ren', mushee-n, poalee-s, mee-n,
mur'ee-n.

4. i'. fir, si'r, bird, Tirfwe, virt'yw, fer, ser, berd
ver-teu.

5. i. 0-lix'ir e-Kk'sur rr'in, lo^'ik lod'jik, a-bil'-
i-ty, ilik'ser, r'oo'in, loj'ik, ubil'iti.

1. 5. note, f5al, tow to, s5re, noa't, foa-l, toa~,
soa'r.

2. o. not, con, odd, bor'r5, not, kon, od, bor-oa.

3. 6. move, prove, food, soon, moo'v, proo'v,
foo'd, soo'n.

4. 6. like a, nor, form, sort, ought awt, nau-r,
fau'rm, sau'rt, au't.

5. o. (an o with J- over it), son, done, come,
mon'ey, sun, dun, kum, mun-i.

6. o. ac'tor, con-fess', fel'o-ni, ak'ter, kunfes',
fel-uni.

1. u. tube, tune, suit sut, pure, teu'b, teu'n, seu't,
peu'r.

2. ii. tub, tiin, hut, hiir'ry, tub, tun, hut, hur''i.

3. u. bull, full, pull, push, buol, fuol, puol, puosh.

4. ii. fiir, tiirn, mur'mwr, hiirt, fer, tern, mer-
mer, hert.

5. u. (u with -*- over it , like 6, rule, rude, true.
r'oo'l, r'oo'd, troo.

6. u. sul'phwr sul'fwr, miir'niwr, dep'w-ty, sul'fer,
mer-mer, dep-euti.

1. y. type, style, lyre, teip, steil, leir.

2. y. syl'van, sym'bol, crys'tal, sil-ven, sim'bel,
kr j is-tel.

3. y. myrrh mir, myrtle mi'r'tl, mer, mer'tl.

4. y. truly trvle, en'vy, mar'tyr, tr'oo'li, en n vi t
maa'rter.

01, oy, boil, toH, boy, toy, boil, toil, boi, toi.

6u and ow, bound, town, now, bound, toun, nou.

ew, like u, few, new dew, feu, neu, deu.

9, like s, ac'td as'id, pla9-id, as'id, plas'id.

c (c with J- under it, or C with an oblique lino

through it), like k, flaccid, scep'tie, Jlak'sid,

skep'tik.

Sec. XIII.

ENGLISH PRONOUNCING DICTIONARIES.

189

eh. (c as before), like k, chav'ac-ter k&r'ak-ter,

chasm kazm, kar'-akter, kaz-m.
9h, like sh, 9haise shaz 9hev-#-lieV shev-a-ler,

shai-z, shevulee-r [Fr. sheovaalyai.']
ch, like tsh, charm, church, chact'rm, cherch.
G (g with J- over it , Get, Give, Gift, get, giv, gift.
g (g \vith a half inoon over it; capital, with re-
verted half moon under it), ^en'd^r, gl'ant,
jen'der, jei'ent.
s (s with a half moon under it), like z, muse,

choose, meu-z, choo-z.
x (x with a straight line under it) <?#-Am'ple egz-

Am'pl, ex-ist' eg-zist', egzaa'tnpl, egzis't.
TH (in capitals the T has a cross line through its

stem, in small letters the h has a cross line through

its stem), THIS, TH, THen, dhis, dhee, dhen.
tion, sion, like shun, na'tion na'shwn, nation

no'shwn, pen'sion pen'shwn, mis'sion mish'wn,

nai'shen, noa'shen, pen's hen, mish'en.
cera, cian, like shan, o'cean 6'shn, op-ti"cin

op-tish'n, oa- sheii, optish-en.
cil, sil, tial, like shal, com-mer'cial kom-mer'shl,

con-tro-ver'si^l kon-tro-ver'shal, kumer'shel, kon-

troaver'shel.
ceows, ciows, tiows, like shus, far-i-na'ceows far-^-

na'shws, ca-pa'ciows ka-pa'shws, sen-ten'tiows

sen-ten'shws, far 1 in ai- shus, kupai'shus, senten'-

shus.
ffeous, giou&, like jus, cot^-ra'^eows kwr-ra'jws,

re-liff'ious re-lid'jws, kur'ai'jus, rilij-tis.
qu, like kw, queen kwen, ques'tion kwest'y^n [but

the first spelling ought to have given kwes'shem,

see tion above], kween, kwes'tyen.
wh, like hw, when hwen, while hwil, when, wheil.
ph, like f, phan'tom, ser'ph ser'sd, fan' tern, ser''af

(or ser^'ufj.

Ogilvie and Cull. A smaller English Dictionary,
etymological, pronouncing, and explanatory, by
Joint Ogilvie, LL.D. The pronunciation adapted
to the best modern usage, by Richard Gull. F.S.A.,
1875, London, Blackie, pp. 464.

A compact, useful, and very cheap little book
(3s 6d.) beautifully printed and got up. Mr. Cull

is a well-known orthoepist. His usages and re-
commendations will, however, be found to differ in
many respects from those here given. For example,
he uses the vanishes ai-y, oa w always ; he does not
distinguish r, r', rr\ and does not recognise murmur
diphthongs, and he treats weak syllables as if they
were strong. The following key words run along
the foot of each page. They are here given in
Mr. Cull's orthography, using a, u for a, u with
two dots under them. To these are added a few
other words to shew Mr. Cull's treatment of R and
weak syllables. The Glossic in italics gives the
pronunciation indicated, and where it differs from
my own pronunciation the latter is subjoined in a
parenthesis.

OGILVIE AND CULL'S KEY WORDS.

Fate/-y* tfai'tj, far /' (faa-rj, f&tfat, fall
fau'l ; me mee, met met, her hur' (her) ; pine pein,
pin pin; note noa'wt (noa'tj, not not, move moo'v ;
tube teu'b, tub tub, bull buol ; oil oil, pound pound.
Chan chai-yn (chai'n) ; job job ; go goa-w (goaj ;
sing sing; THen [the stem of the T is crossed] dhen ;
thin thin; wig wig; a'zhur ai'yzheur fai'zhettr,
ai'zher, azh'eur, azh'erj.

OTHER WORDS mer'li inee'r'li (mee-rli) ; se'rez
see-r'eez fsee'rr' ieezj , rar r'ai-yr' (r'ai'r), ra're-fl
r'ai-yr'eefei (r'ai'rr'ifeij, 5'ral oa'wr'al foa'rr'elj,
porpoo-r' fpoo-rj, la'ber-er lavybur 'ur' (lai'burer),
de-pend-ant deepend-ant (dipen'dentj, de-pend'ent
deepend'eni fdipen'dentj [these two last words are
usually identical], re-jon ree'jon (ree-jen) , or'gan
or-gan (au-rgen, aw gen), for'tu-nat for'-teunai-yt
fau-rteunet, fawchunet), hor'rid hor'-r'id (hor'-idj,
flo'rid flor^'id [these two last words rhyme per-
fectly], flo'-rist/or'-u* (floa-rrist).

As I am personally acquainted with Mr. Cull, I
know that the pronunciation he uses in conversa-
tion and public speaking does not differ from my
own so much as these words would imply, and
hence I recommend those who use this dictionary
to read the pronunciation there given in accordance
with the above indications.

130

ALPHABETICAL KEYS TO GERMAN, ITALIAN, AND FRENCH.

XIV. ALPHABETICAL KEYS TO GERMAN, ITALIAN,

AND FRENCH.

Introduction Although it is not possible to lay
down rules which will enable a reader to ascertain
the sounds from the ordinary spelling of English
words, this is much more nearly the case with
German, Italian, and French.

I. German. For German it is not usual to give
any assistance to the reader, and most Germans
are under the delusion that they spell as they
pronounce. This is not the case. High German
is a literary language which owes its predominance
to the fact that Martin Luther (Luot-ur ) was
born at Eisleben CAayslae-benJ in Saxony, and
used his own dialect for his translation of the
Bible. In different parts of Germany different
systems of pronouncing this literary language
prevail, distinguished by their treatment (1) of
German e, (2) of the diphthongs, (3) of the corre-
spondence of short vowels in closed syllables to
long vowels, (4) of German g, (5) of German s,
and (6) of German ng. The three principal
systems are thus defined and described by Dr.
H. M. Rapp, in his " Physiologic der Sprache,"
vol. 4, 1841, p. 85.

A. The Orthographical or Low Saxon System of
Pronunciation, used in the North West of Germany,
between the Weser (V'ae-zur) and the Elb, and
mostly in the Hanse Towns (Hamburg, Liibeck,
Bremen), Holstein, Hannover, East Friesland

(Haam-buorkh, Lue'baek, Brae-men, Haol-staayn^
Haan-oa-vur , Free- sldandj . Through Hamburg
and Hannover (which we write Hanover, and call
Han-uver) % this system chiefly reaches England,
but the point to which the English cling is the
fifth, concerning st, sp.

(1) Short i, u, ii become e, oa, oe. Short e, o, 6
become ae, o, e\

{2} When ' e ' long is derived from ' a ' long, or
' i ' long, it becomes ae- long, and is otherwise ai-
long. This custom requires a knowledge of the
language, or marked vowels. [Mr. Henry Sweet,
in a paper on " The Characteristics of North
German," read before the Philological Society,
17th March, 1876, immediately on returning- from
a six months' residence in Hanover, stated that
this distinction in now entirely given up, and that
long 'e' is invariably ai-, no matter whence it is
derived.]

(3) The diphthongs ' ai, ei ' are both aay, ' au '
is aaw. and * au, eu ' are both oy.

(4) Initial ' g ' is g at the beginning of syllables,
and gh or gy'h at the end of syllables. [Mr.
Henry Sweet says it is always g except at the end
of words, and even then it is generally k ; the gy'h
or ky'h occurs only in the termination ~ig.~\

(5) The combinations ' st, sp ' are always &t, sp.
[Mr. Sweet says that st, sp are not considered
correct at present in Hanover, that sht-, shp-, with

Sec. XIV.

ALPHABETICAL KEYS TO GERMAN, ITALIAN, AND FKENCH.

191

the full labial sJi (p. 713) are always heard on the
stage and in public speaking, and st-, sp- may be
considered to have practically disappeared.]

6) Final ' ng ' adds on a g, as ngg, but between
vowels no such g is heard. [Mr. Sweet knows
only ngk final, but even this is now discoun-
tenanced, and ng alone is used.]

B. The Historical System of Pronunciation, used
in the North West of Germany, Berlin, Branden-
burg, the shores of the Baltic from Mecklenburg,
through Pomerania to the Russian borders ; also
in isolated districts in the middle provinces, on the
lower Rhine about Aix-la-Chapelle and Cologne,
near the river Fulda in Franconia, &c. ; and like-
wise in South West Germany, in Swabia, Alsatia,
Switzerland. (Baei'lee'n, Br'aatrdenbuor'ky'h,
Maek-lenbuor'ky'h, Paom'urn, French Aezlaa-
Shaapael, Kaolaony , German Aa'khen, Koeln,
Fuoldaa) .

(1) The short vowels have the same quality as
the long vowels.

(2) The use of ae, ai long, as in the Ortho-
graphical System.

(3) A very complicated diphthongal system,
first, the ' ei, au, eu ' corresponding to the old
simple vowels ee, do, ue. are uy, uw, uue ; secondly,
those corresponding to the old diphthongs are
perhaps aey, ow, e'ue ; thirdly, when either of these
precede nasals, they become aay, aaw, oeue.

v4) The ' g ' is always g, except in the termina-
tion ' ig.'

(5) The initial ' st, sp ' become sht, slip (or
perhaps stit, sh'p}.

(6) The ' ng ' treated as in the Orthographical
System.

C. The Practical System of Pronunciation, used
throughout Middle Germany, from the Polish to
the French frontier, in Silesia, Upper Saxony,
Franconia, the Palatinate of the Rhine, and Upper
Palatinate, and also in Bavaria and Austria.

(1) Short and long vowels the same in quality.

(2) All long ' e ' are ai [but tie is often heard in
Saxony.]

(3) The diphthongs ' ei, au, eu ' are aay, aaw,
aay [but oy or aoy is used for ' eu ' on the stage,
the aay being thought vulgar ; Rapp supposes a
theoretical one, other theoreticians give a theoreti-
cal aaue, I have never heard either.]

(4) Initial ' g ' is g, final ' g' is kh or ky'h, and
' g' between vowels, and after a liquid and before
a vowel, is gh or gy'h.

(5) Initial ' st, sp ' always sht, shp [or, in
Saxony, in the most refined speaking, more exactly
sKt, sh'p.]

1 6) The ' ng ' is always ng without any final g
[or *.]

It is this system of pronunciation to which I
have become accustomed by three years' residence
in Dresden. But I always took the liberty of using
those pronunciations known in other parts of
Germany, which were easiest for my own organs,
and I recommend other Englishmen to do the
same. Thus the short German vowels ' a, e, i, o, u,
6, ii,' I recommend pronouncing as aa, e, ?, o, uo,
oe, ue, and the long as aa, ai, ee, oa, do, eo, ue. The
diphthongs ' ei, au, eu ' may be taken exactly as
English ei, ou, oi, in the form most usual to the
speaker. The ' g ' may even be always </, except
in '-ig,' but it sounds very harsh, and when the
learner has once mastered ky'h, kh, which are
quite indispensable, he will find no difficulty in
using gy'h, gh. The sh't, sh'p or sht, shp initial
are indispensable ; the st, sp have a strange, short-
tongued effect, and, as seen above, were confined
to a very limited district, whence they are dis-
appearing. The ' w ' may even be pronounced as
v, if the lip press the teeth very lightly, but v' is
so much softer and pleasanter that it should be
adopted if possible. The place of the accent offers
no difficulties to an Englishman.

With these liberties it does not become very
difficult to assign rules for pronuncing German
from ordinary spelling, and these I have tried to
give in the following Alphabetical Key. The
pronunciations are given on my own responsibility.
I have paid great attention to German speech for
more than thirty years; at one time I used to

192

ALPHABETICAL KEYS TO UERMAN, ITALIAN, AND FRENCH.

Sec. XIV.

speak well enough to be mistaken for a German
by Germans; I have had much conference with
Germans respecting pronunciation, and have
studied many German orthoepical works. My
directions may, I think, therefore, be followed
with considerable confidence.

II. Italian. For Italian, the spelling shews
the pronunciation almost exactly, except in four
important points, the double use of the three letters
' e, o, z,' and the position of the accent. It is
quite impossible to give complete rules for over-
coming these four difficulties. All elementary
Italian books and dictionaries should have the
broad sounds tie ae, do do, dz distinguished in some
way from the fine ai ai, da oa, ts ; learners other-
wise fall into difficulties which they can never
correct. Although I resided eighteen months in
Italy, and was at one time able to speak the
language fluently, I have not attempted to grapple
with these difficulties on my own responsibility,
but have always consulted the excellent work of
Valentini. In Petronj's (Paitrao-nyee'zJ Pocket
Italian Dictionary, Rosteri's (Roastae'ree'z) Pocket
Italian Interpreter, and New Italian Grammar (all
in English), these distinctions are always carefully
marked. Based upon these helps and my own
familiarity with the language, the following
Alphabetical Key will most probably always lead
the student correctly.

III. French. There is this peculiarity about
French spelling, that though it is quite impossible
to guess the spelling of a word from its sound, the
reverse process of telling the sound from the
spelling is tolerably certain, and admits of reduc-
tion to rule, which will generally, not always,
suffice. Although I have been familiar with
French from childhood, have resided many months
at various times in France, during which I
diligently studied the pronunciation, and have in-
dustriously worked through many French treatises
on the subject, I have been very glad to rely for
the following Alphabetical Key on an admirable

little work by Theriat, cited below, and now
apparently out of print. With this help, I hope
that my Key will prove useful even to those who
have considerable acquaintance with the language.
But a pronouncing dictionary or vocabulary is still
necessary, and for those who can read French, I
recommend Adrien Feline's " Dictionnaire de la
Prononciation de la langue Fran9aise, indiquee au
moyen de caracteres phonetiques, precede d'un
memoire sur la Reforme de 1'Alphabet, Paris,
1851," 8vo, double columns, 383 pages, a work I
find constantly useful. The following is a com-
parison of his symbols with the Glossic.

1. a aa 13. u ue 25. 1 I

2. a ah 14. u oo 26. j. hj

3. a ahn' 15. u oen 27. y y

4. e ai 16. p p 28. f /

5. e ae 17. b b 29. v v

6. oe 18. mm 30. w w

7. e eo 19. t t 31. s s

8. i ee 20. d d 32. z z

9. i_ aen' 21. n n 33. h sh

10. o ao 22. k k 34. j zh

11. 6 oa 23. g g 35. r r'

12. o oan' 24. g ny'

These Alphabetical Keys were originally written
and stereotyped for separate use, and hence they
have been constructed independently of the pre-
ceding pages, with a separate key to the especially
foreign sounds, which was continually referred to.
This Key is therefore retained, and although the
full explanations already given may have rendered
it not so necessary as before, yet the reader may
find it convenient to have a -statement of all the
new sounds he has to learn put before him at once,
with a reference to the other fuller accounts.

Sec. XIV.

ALPHABETICAL BEYS TO GERMAN ITALIAN, AND FRENCH,

193

EXPLANATIONS OF FOREIGN SOUNDS.

Six Vowels, heard in Provincial English.

[1.] ae is a with a higher larynx and narrower
throat, a somewhat broader sound of ai in air,
p. 32a. It has no resemblance to aa. It is very
common in German, Italian, and French. Those
who have a difficulty in pronouncing it may use ai
long and e short.

[2.] ah is aa with the back of the tongue de-
pressed, a thicker, broader sound of aa, producible
from au by opening the corners of the lips (p. 33).
Common in French, common (but not acknow-
ledged) in German, quite unknown in Italian.
Those who have a difficulty in pronouncing it may
use aa.

[3.] ao, confined to the diphthong 'oar"=
ao-u-(r'} in received English, but used provincially
before all consonants, p. 3oa. Common in German,
Italian, and French before all consonants. Those
who have a difficulty in sounding it may use oa
long and o short in German and French, and au
long and o short in Italian.

[4.] ue may be immediately sounded by trying
to say ee or i when the lips are placed for oo, p. 29 a.
Common in French (where it must be rightly
pronounced to be intelligible), and German (where
it may be called ee or i, that being a vulgar native
pronunciation), but unknown in Italian. In
French it forms a diphthong with the following
vowel, generating a sound much like an attempt
to pronounce w and y at the same time, giving the
greater predominance to the w, see p. 49 &, and
UI in the French Key, p. 210*.

[5.] eo may be immediately sounded by trying
to say ai when the lips are placed for oa, p. 31.
Common in French (where it must be rightly pro-
nounced to be intelligible), and in German parts of
Germany (where it is always long, and may be
called ai, that being a vulgar native pronuncia-
tion), but unknown in Italian. At the end of
words -le, -tc, -me after consonants are pronounced
in French with the faintest possible indication of

this sound, which is written eo in Glossic. See
p. 94.

[6.] oe is produced by trying to say ae (instead
of ai, as in the last case; when the lips are placed
for oa, p. 3 la. Common in French (where it is
distinguished from eo by careful speakers, but must
not be confounded with any other sounds), and in
German (where it is always short, and may be
called e or ae, the latter being a vulgar native
pronunciation), but unknown in Italian. Very
like English er with untrilled r, but the lips are
not rounded for er as they are for oe,

Four Nasal Vowels, peculiar to the French.

[7.] aen' ', produced by keeping the uvula away
from the pharynx, as in diagrams 22, 23, 24, all
the time that the speaker tries to say ae or a. Not
to be confounded with ang, which consists of a, a
glide, and ng, whereas aen' is one simple vowel on
which a note of any length can be sung. But this
aen' is sometimes heard during the glide, in
passing from a to ng, when the vowel is continued,
even while the uvula is relaxed, as in diagram 24
for the ng. Practice saying ae-aen' -ae-aen' , &c., in
one continuous emission of breath, feeling the
motion of the uvula. Examine the effect of
closing the mouth and nostrils alternately, by the
hand only, while saying aen'. See p. 400.

[8.] ahn', produced by keeping the uvula away
from the pharynx, as in diagrams 22, 23, 24, all
the time that the speaker tries to say ah (or au,
but try not to round the lips) . Differs from aang
as ang from aen'. Exercise ah-ahn'-ah, &c. as in
[7]. Never call this ong or ang. See p. 40a.

[9] oan' , uvula as in diagrams 22, 23, 24, all the
time that the speaker tries to say oa. Exercise
oa-oan' -oa-oan' &c., see [7]. Never say ong. Dis-
tinguish clearly between ahn' and oan'. English
speakers are apt to call both ong. See p. 40.

[10.] oen' , uvula as in diagrams 22, 23, 24, all
the time that the speaker tries to say oe (or u.)

194

ALPHABETICAL KEYS TO GEKIU.N, ITALIAN, AND FRENCH.

Sec. XIV.

Exercise oe-oeri '~oe-oen' &c., see [7], Never say
wig. See p. 41#.

Six German Consonants, of which two are pro-
vincial English, and the other four may be
pronounce^ with received English sounds.

[11.] M, lips open, tongue almost as for oo,
diagram 5, hut even a little closer to the uvula, so
tha't the breath escapes as a hawking, rasping hiss.
The Scotch ch in ' Loch '=lokh. Never say k.
See p. 83<z.

[12.] gh, the same as kh (see [11]) with the
voice laid on, producing a harsh guttural buzz.
This may be always called g in German, that
being the pronunciation of one district. See p. 83.

[13.] ky'h, an attempt to say both y and kh at
once, tongue very nearly in the position for ee
(diagram 1 and 8), or ai (diagram 2 and 9). The
sound is almost yh, as in English Hugh Theu, and
this sound may always be used for ky'h. The
Scotch ch in ' nicht'=^neky'ht. Never say sh or
ch, which are common English errors. See p. 81#.

[14.] gy'h, the same as ky'h, [13], with the voice
laid on, so that it is very nearly y, but a little
harsher ; and y is a vulgar German pronunciation.
This may be always called g in German, that
being the pronunciation of many persons in North
Germany. See p. 81a.

[15.] f is an/^made with the lips in the position
for w, as in diagram 12, but closer, taking care
that the lower lip does not touch the upper teeth.
I" is an attempt to say / without using the teeth.
But / may always be used, that being a very
general pronunciation. See p. 65.

[16.] v 1 is a v made with the lips in the position
for w, as in diagram 12, but closer, taking care
that the lawer lip does not touch the upper teeth.
It is-/', [15], with the voice laid on; that is, it is
an attempt to say v without using the teeth. But
v may be always used. Englishmen are cautioned
against saying w. See p. 65.

Two Liquid Consonants, peculiar to Italian and
French.

[17.] ly' is an attempt to pronounce I and y at
the same time, so that the front of the tongue is
as in diagram 20, and the back as in diagram 1.
If in saying ' billion '==bil-yun we prolong the I
till we begin to say y, we produce ly' as an inter-
mediate glide, thus bil-ly'-yun. It is not ly.
Common in Italian and in the pronunciation of
elderly Frenchmen, but within the last 50 years it
has been replaced by y in France. Never use y
for ly' in Italian. This is called " 1 mouille " aeo
mooyai (formerly mooly'ai) in French. See p. 8lb.

[18.] ny 1 is an attempt to pronounce n and y at
the same time, so that the uvula and front of the
tongue are as in diagram 23, and the back as in
diagram 1. If in saying ' onion *=un'yun, we
prolong the n till we begin to say y, we produce
ny' as an intermediate glide, thus un-ny'-yun. It
is not ny. Common in both Italian and French.
Beware of calling ' Boulogne ' Booloin, or Boolong,
or Booloan, it is properly Soolaony'. This is called
" n mouille " aen mooyai (formerly mooly'ai) in
French. See p. 82.

Two Consonantal Diphthongs, used finally, but

not initially in English.

[19.] ts ; if in saying pats we pause at the t,
keeping the tongue as in diagram 16, and then
explode from t to s, thus pat -ts, we produce the
initial ts. Common in German and Italian, but
unknown in French. See pp. 703 and 710.

[20.] dz; if in saying ' pads '==padz, we pause
at the d as long as we can sound the voice in that
position, and then, while the voice is still sounding,
come suddenly down on z, thus pad-dz (taking care
not to drop from z into *, as Englishmen are apt
to do), we produce the initial dz. Not uncommon,
but not very common, in Italian ; unknown in
German and French. See p. 97.

NOTES.

[21.] In using the English sounds ai, oa in
foreign languages be extremely careful never to

Sec. XIV.

ALPHABETICAL KEYS TO GERMAN, ITALIAN, AND FRENCH.

195

add after-sounds of short ee and oo. This trick is
quite unknown abroad, and is extremely un-
pleasant, often unintelligible, to foreigners.

Cautions for English Speakers of German, Italian,
and French.

[22.] The letters t, d, n, s, I, r, are pronounced
in German, Italian, and French, with the tip of
the tongue rather more forward than in English,
so as to lie quite on the roots of the teeth, almost
as much as for English th. See *', d\ p 700 ; w",
p. 770; s, *',p. 703; l\ p. 73i; r", p. 74*.

[23.] Vocal r is unknown in German, Italian,
and French, and Englishmen are therefore cau-
tioned against using it, as they will be considered
to have omitted r altogether, and would hence
become unintelligible. A strongly -trilled r 1 must
always be used. Germans and French (not
Italians) often use the Northumbrian burr or

uvular trill l r (p. 83*) , but this is always considered
erroneous, even by those who use it. Be careful
never to introduce a trilled r' between the final
00, w, of one word, and the initial vowel of the
next. This is quite unknown abroad.

[24.] The aspirate h is unknown in French and
Italian, but is never dropped in German. The
French so-called " h aspire " aash aaspeer'ai is a
mere hiatus.

[25.] Diphthongs in German are very close,
but the first element being longer than in English,
sound very broad. In French and Italian the
vowels are rather slurred together than united into
a glide to form a proper diphthong p. 45). When
in Italian several vowels come together on one note
in singing they are all to be distinctly heard, and
are to be slurred together in this way. See
Section XV, p. 213. No written vowel must be
left out in speaking or singing Italian.

196

ALPHABETICAL SET TO GERMAN PRONUNCIATION.

Sec. XIV

I. ALPHABETICAL KEY TO GERMAN PRONUNCIATION.

Only one un-English sotnid is absolutely neces-
sary for speaking German intelligibly, namely, kh,
the Scotch ch in loch [11]. The bracketed numbers
refer to the explanations on p. 193, where it will be
seen that 1 1 other new sounds, or combinations of
sound, are also in use. Of these ts [19], and dz
[20], are only un-English by being used at the
beginning, instead of only at the end of syllables.
For ae [1] we may use ai long, and e short ; for ao
[3], o short ; for ue [4], ee long, and i short; for
eo [5], ai long ; for oe [6], e short ; for ky' it, [13],
f fh as h in hue ; f or either gh [12] or gyh L 14],
dimple g ; and for /' [15] and v' [16], simple/, v.
Persons so speaking will be always well and easily
understood by Germans, although the sounds are
frequently incorrect, or, more properly, vulgar.

In the following alphabetical list, Italics mark
the pronunciation in Glossic characters.

A is long or short aa, never English ai, a, as Strasze

shtr'da'su, Mann moan.
A is long or short ae ( 1], as sprachen shprae-ky'hen,

Manner mden'er' ; but may be miscalled ai, e, as

shpr'di'yhen, men-er'.
AA is always long aa, as Aal aal.
AE is precisely the same as A, and is often used

instead of it in capitals.

AEU is precisely the same as AU.

AH is always long aa, chiefly used before L, M, N
R, as Pfahl p/'aal, Rahm r'dam, Ahnen da'nen
Bahre. baa-r'u.

AI is precisely the same as EI, and may be pro-
nounced as ei.

ATI is ou, taken as aa-oo, and the aa may be
made long ; as Laut lout (scarcely to be distin-
guished from English ' lout.')

AIT may be always called oi as in North Germany ;
it is professedly aa-ue [4], and is often confused
with AI, as Hauser hoi'zer ', or haaue'zer' often
hei-zer'. See [25].

B is b at the beginning of words or between the
two vowels (lengthening the preceding vowel),
but p at the end of words, as bat bdat, graben
grda'ben, Grab i/rdap.

BB is b, and shortens the preceding vowel, as Ebbe
aeb-u.

C before A, O, U, is k, in which case it is often
replaced by K ; but before AE, E, I, UE, EI, it
is ts, in which case it is often replaced by Z.
Before any other letters but H and K, C is only
used in foreign words, as Capital kaapeetaa'l,
Geder tsai'der'.

CH after A, 0, U, AU, is kh [11], and generally
(not always) shortens the preceding A, 0, as
machen maakh'en,, pochen paokh'en, p$kh'e>/, but
Buch bookh. CH after AE, E, I, EI, EU, AEU,
E, L, N ; that is generally, is ky ' h [13] (nearly
yh}, and also often shortens the preceding E, I,
as Pech paeky'h or peyk, ich eeky ' h or iyh, Dolch
daolkyh or dolyh, manch maanky' h or maiiuyh,
durch door'ky'h or door' 'yh. In the final syllable
chen it is also ky'h, as Madchen mde'dky' hen or
mai-dyhen, the only German syllable in which
CH is initial. In foreign words from Greek it
is kh, ky'h, according to the following vowel,
sometimes k, and from French it is s/i, as Chaussee
shoasai'. CHS is always ks, as sechs zdeks or zeks.

CK used for KK, which is often written, is k,
and shortens preceding vowel, as Miicke muek-u
or mik'u,

D is d at the beginning of words or between two
vowels (lengthening the preceding vowel), but t
at the end of words, as das daas, Ader aa'der\
stand shtaant. The Germans advance the tip of
the tongue nearer the teeth than the English [22],

E is generally ai [21] when long, and may be
always so called, but is sometimes ae [1] long,
and before a consonant is ae short, but may be
called e short. When final and unaccented it is
practically u, as English final A in ' idea.' When
in a final syllable with L, M, N, K, it is indistinct,
and may be called e, very lightly pronounced,
and in case of el, en, the vowel is sometimes
entirely omitted. Some German writers on pro-
nunciation allow ER, ES, final to be ur\

us . Examples, heben, hai'ben, Eber ae-^r 01

ai'ber', eine ei-nu, Adel da-del nearly da.-dl,
offenen anf-enen or ofnen, Nudeln nwdeln (not
noo'del-n, or noo-dlen, as Englishmen often say).

EE always long ai [21], as Beet bait.

EH always long ai [21], or long ae [1], the latter
rare ; generally used before L, M, N, R, as Ehre
di'r'u, compare Aehre de-r'u or di-r'u.

Sec. XIV.

ALPHABETICAL KEY TO GERMAN T KONUNCIATION.

197

El is ei taken as any that is aa-ee, and the first
element may be long ; as rein, raayn or r'ein.
See [25]

E U is precisely the same as AEU, and may be always
called oi as in North German, but is professedly
aa-ue [4], and is often confused with AI or El,
as Eule oi-l/t, or aane-lu, often ei'lu. See [25.]

F always /, but in some districts/' [15] after p.

FF always /"shortening preceding vowel, as Staffelei

G may be always called g when at the beginning
of syllables, or between two vowels, and k when
at the end of words, except in the syllable ig,
which may be Cdlled eekif h [13] or \yh. In
the middle and South of Germany (that is, more
generally) G at the beginning of words is called
g, and in the middle of words gh [12] after
A, 0, U. AU, and gy'h [14] after AE, E, I, El,
EU, AEU, R L,'but at the end of words kh,
kyh after these letters respectively, and lengthens
the preceding vowel ; as tag taakh, or taak,
woge v'd'i'ghu, or voa'qu, Zug tsookh, or tsook ;
Sage zae-gy'hu, or zdi-gu; Siege zee-gy 1 hu, or
zee'gu, feige fei'gy' hu, or fei'gu, augeln oi'gy'heln
or oi-geln.

GKJ is simple g, but shortens the preceding vowel, ;

as Koggen rdog'en, or r'oye-n.

H before a vowel h [24], as heiser hei'zer' ', except
in TH, which see ; after a vowel, mute, length-
ening the vowel. See AH, EH, IH, OH, UH.

I is long and short ee (and short * in North of
Germany, so that short i may always be used
in place of the more difficult short ee), as Ver-
giss-mein-nicht fer'gees'-mein-neeky'ht, or fer'-

IE is long ee, except when final in a few foreign
words where it is ee-u, or yu, as Liebe lee-bu,
Lilie let-iee-u, or leelyu.

IH is long ee, as in ihnen eenen.

J is if ; in German Gothic print the capitals I J are
not distinguished.

K is k ; avoid middle German pronunciation of
K, as k-h. when beginning a syllable, as komm
k-haom, and say kaom or /com.

L is I, as Luge lue'gy' hu or, intelligibly, lee'gu.
LL is I, but shortens preceding vowel as lallen

Idal'en.
M is m t as Mutter moofer\

MM is m, but shortens preceding vowel as kammen
kdetn'en or hew en.

N is n except before K, when it sounds ng, as drin-
nen dreen-en or drin-en, drinken dreengk'en or
dringk-en.

NG is always ng, as in English ' long,' and never
ng-g as English ' longer ' : thus, lang langer,
laang laeng-er* , or leng-er\ not laeng-ger', 01
leng-ger.' Final NG is sometimes erroneously
called ngk, as lang, laangk.

is long oa and short ao [3], or short o (heard
in North Germany), which may therefore always
be used in place of the more difficult short
no, as grosze groa'see, Ochs doks, or oks.

6 when long is eo [5], and when short oe [6], but
may be called ai when long and de (or e) when
short, as these are common vulgar pronuncia-
tions; thus, 'groszer' properly greo'ser\ vulgarly
grdi-ser ; ' konnte,' properly koen-tu, vulgarly
kden'tu or ken'tu.

OE, (E the same as 0, usually employed in names
as Goethe Geo-tu (vulgarly Gdi-tu like English
'gaiter').

OH is long oa as ohne oa-nu.

00 is long oa as Boot boa't (never oo).

P is p as Pass pdas. Confused with B in Saxony,

PF properly pf [15], may be called pf (nevei
simple /), as Pfaffe pf'aafu or pfdaf-u, never
faaf-u.

PP is p, but shortens preceding vowel as Pappe
pdap'u.

QU is kv' [16], and may be called kv, but must
never be called kw, Quelle kv'ael-u or kvel'u
(never kwel-u as in English ' queller ').

E is properly r\ [23] with the tip of the tongue
trilled, but is frequently made by trilling the
uvula, a practice condemned by those who follow
it. This r" never forms a diphthong with the
preceding vowel, as in English eer. air, oar, oor,
and ai, oa often occur before it, as Lehre lai'r'u,
as well as short vowels, as sterben shtder ''ben or
shter'-ben, murbe muer'-bu or mtr'bu.

ER is r\ shortening the preceding vowel, as Pfar-
rer pf'aar''er'.

8 at the beginning of a syllable, before a vowel
or between two vowels is always z (never *) ;
at the end of a syllable it is always s. Tr

198

ALPHABETICAL KET TO GEEMAN PRONUNCIATION.

Sec. XIV.

German Gothic types, and sometimes in Roman
types, a long f is used in the first two cases, and
a short 8 in the second : Ex. faufeln zoi-zeln,
genas genda-s. See sp, ss, at, tz.

SCH is always M, and often shortens the preceding
vowel, as rasch rdash, schiitteln shuet-eln or
shlfeln.

SP at the beginning of a syllable is most generally
called shp, as spiel thpee'l, but in Hanover it is
called sp, as speel. See p. 190* (5).

SS is *, and shortens the preceding vowel, as
kiissen kues-en or kls-en, unless in German
Roman types it is used for SZ, which see. In
German Gothic types SZ is often used for SS at
the end of words and before consonants (never
before vowels) as ' nusz ' for ' nuss ' noos.

ST at the beginning of a syllable is most generally
called sht as stehen shtaien or shtdin, but in
Hanover it is called st. At the end of a sylla-
ble it is always st as ist eest, or ist, and never
sht. Seep. 190* (5).

SZ is always s. and lengthens the preceding vowel,
except when in German Gothic types it is used for
SS, as is common at the end of words or before
consonants. In German Roman types SS is often
used for SZ, and when this is done, SZ is not
used at all. Compare 'Flusz Fliisze' with 'Nuss
Nusse ' that is floos jlue-s ee or flee-see, with noos
nues'u or nis'u.

T is t -with the tongue nearer the upper gums
than for English t [22], In Saxony it is con-
fused with D.

TH is t lengthening the following vowel as That
taat (never th or dh). See H.

TSCH is ch, that is tsh, used at the end of words,
as Deutsch doich or doitsh.

TZ is ts, used at the end of a syllable after a short
vowel (but the T is frequently omitted), as nutz
noots.

TZSCH is ch, and is sometimes used at the end of
words, as Retzsch Edech or Retsh (like "wretch").

U is long and short oo, but short uo may be said,
as Putz pfiots or puots.

U is long and short ue [4], but may be called
long and short ee, or ee long and i short, as
this is a vulgar pronunciation known all over

Germany ; thus, ' Muller ' properly Muel'er',
very often Meel-er' or Mtl-er' never Mul-u,
Moo-lu, Meu'lu, as English people barbarously
pronounce Prof. Max Miiller's name.

HE is often used as the capital form of U.
TJH is long oo, as Uhlan Oolda-n.

TTJ is sometimes used as a capital form of U in
Austria.

V is by some German theorists called /' [15], but
is most usually f (never v], as von fdon or
fon (never von). Those Germans who call W v'
[16], have the greatest difficulty in pronouncing
a true v.

W is v [16] throughout the middle and South
of Germany. German theorists declare that v
is always used in the North (though the present
writer has never found a German who knew the
sound of v), and hence Englishmen may always
use this easier v (but never M>), as wer weisz
rider" v'eis or vaer' veis (vaer may be called
vairr', as in English 'vary' vai-rr'i).

X is ks, but only occurs in non-German words.

Y is always considered as a vowel, and to be, in
the older German dipthhongs AY, EY, another
form of I. In later spelling AI, El are used,
and Y is confined to non- German words, being
called long and short ee.

Z is always ts [19], never dz [20] or simple 2,
very common at the beginning of syllables as
zuzuziehen tsoo-tsoo-tsee-n.

ZSCH is ch, often used at the beginning of
words, as Zschokke Chdok-u, or Ohok-u, Tshok-u.

German words generally receive the accent on
the root syllable of native words, and on the last
syllable of those taken from French and Latin.

Example of difficulties : Ach ! eine einzige iible
feurige Miicke konnte wohl auch mien bose
rnachen, was mir unendlich leid thate. Aakh !
ei'nu ei'ti-tseegy" hu ue^blu foi'r'eegtf hu muek'u
koen'tu voal oukh meeky 'h boe - zu maakh'en, v'aas
meer 1 oon-den' dleeky' h left tde^tu which would
be intelligible if mispronounced ; Aakh ! ei'nu
ei'ntsigu ee'blu foi-r'ign mifru ken-tu voal ouhk
miyh bai-zu mdakh'n, vdas meer' oon-en'dliyh leit
tdi'tu. (Ah! a single evil fiery gnat might indeed
even me angry make, which to me infinite sorrow
would do). See German Songs, pp. 217-224.

Sec. XIV.

ALPHABETICAL KEY TO ITALIAN PRONUNCIATION.

199

II. ALPHABETICAL KEY TO ITALIAN PBONUNCIATIOtf.

Italian (or properly, Tuscan^ , may be pronounced
intelligibly without introducing a single unusual
English sound by simply using e for ae, o or au for
ao. ly for ly ', and ny for ny\ For more correct
speaking, study the vowels ae [1], on p. 193; 00,
[3] ; the consonants ly' [17], ny' [18], and the
consonantal diphthongs ts, & [19, 20]. Observe
also the cautions [21, 23, 25].

Italian vowels are generally shorter than English
long, and longer than English short vowels.
They have precisely the same sound whether
long or short, and any one may be made long
in singing. Observe also that double consonants
in Italian should be pronounced twice, to imitate
the peculiar energy which they receive and which
always distinguishes them from single consonants.

In the following Alphabet, Italics mark the
pronunciation in G-lossic.

A is aa middle length, as raro r'aa'T'oa, fatto
faat'toa, cassa kaas-saa. It is never indistinct,
as final 'a' in English. Never allow an r or r'
to be heard after it. The preposition "a" when
before a consonant always runs on to it, and
doubles it ; thus, a,\maal-loo-ee. Whenever a word
ends in -a, with the accent on it, the following
consonant is also doubled in correct Tuscan.

B is b, never confused with p, as bardo baa-r'doa.

BB is b-b, as if occurring in two words, as in
English, Ba ballads ; as gabbia gaab'beeaa.

C before A, 0, U, is k ; and before E, I is ch,
but when CE, 01, CIA, CIO immediately follow
a vowel, the t of ch -tsh is not so distinctly
heard, so that to English ears the sound is
nearly sh, but is really that modification of
sh heard in prolonging the hiss of English
"hatch, fetch, as long as possible, but pure ch
is better than pure sh. Ex., acerbo aach m aer''boa,
face faa'chat.

CC before A, 0, U is k-k, as if in two words,
as English boo-<-ase ; and before E, 1 is
t-.ch as English fa^-cAeese, as accendere aat-
chaen'dair'ai, facce faat'chai.

CCH, used only before E, I, is k-k, like CC before
A, 0, U.

CCI before A, 0, U is t-ch, like CC before E, I,
as braccia braafrchaa, caccio kaat-choa ; other-
wise it is t-chee, as abbracci aab-braat'chee,

CH, used only before E, I, is k, as chiave kyaa'vai,
cheto kai'toa.

CHI before A, 0, U, is nearly chy, chiodo kyao-doa.

CI before A, 0, U, is ch, simply (see C), as ciancia
chaan-chaa; before E it is always chy, as cielo
chyae'loa, as cieco chyai'koa, ciechesco chyaikae'-
ciera chyai'r'aa.

D is d with the tip of the tongue against the
roots of the teeth [22], is never confused with
t, as dato daa-toa.

DD is d-d, as in two English words, as ma^-otfshes ;
Ex., freddo fraid'doa.

E is sometimes ai [22] and sometimes ae [1], the
former is called ' chiuso ' kyoo'zoa close, and
the latter ' aperto ' aapaer' 'toa open. The mean-
ing of a word often depends on making this
distinction of sound, which is not marked in
spelling, and can be fully learned from a
dictionary alone. The following rules (derived
from Valentini) apply to numerous, very common
cases, and should be studied by those who wish
to pronounce Italian well.

Use ai (close e) in words ending like the
following passEG-GrlO paas-said-joa, dEGrNO
dai'ny'oa, civilMENTE cheeveelmain'tai (only
when adverbs), aliMENTO aaleemain-toa, bur-
IESCO boor'lais-koa, caprETTO kaapr' ait'toa (only
when diminutives), colpEVOLE koalpai-voalai,
bellEZZA bail-laittsaa, avERE avai-r'ai (only
when verbs in ere long), and cedEI, cedE\
tEnne, prEse, crEbbe, &c. ; credEVA, cedESSI,
credESSERO, &c., chaidai-ee, chaidai', tain'nai,
pr'ai-zai, kr'aib'bai, &c. ; kr 1 aidai-vaa, chaidais'see,
kraidais-sair'oa, &c., in the past tenses of all
verbs, in the monosyllables " me, te, se, ne, ce,
ve, le, re, tre, fe," &c. ; "che," and its com-
pounds " perche, benche," called mai, tai, sai,
nai, chai, vai, lai, r'ai, tr'ai, fai, kai, pair'kai\

200

ALPHABETICAL KEY TO ITALIAN PBONTHSTeiATION.

Sec. XIV,

bainkai- in ALL UNACCENTED SYLLABLES; and
when E replaces a Latin I, as cetera chai-tai-
raa, neve nai-vai, peace pai-shai, &c. The
adverb "e" meaning 'and' is also ai, but
when occurring before a consonant doubles
it, as e lui ail-loo- ee; this is also the case for
all words ending in -e in proper Tuscan.

Use ae (open e} in other words ending as
bELLO bael-loa (with its inflections " bella,
belli, belle"), dENTE daen'tai, semENZA
saimaen'tsaa, mestiERE maisteeae'r" ai (not verbs"',
desidERIO daiseedae-r' eeoa, eccESSO ait-chaes'soa;
generally when accented in the last syllable but
TWO and in the monosyllable e ae, meaning ' is ';
and generally when E stands for Latin E, JE,
(E, as bene bae'nai, mesto maes'toa.

F is /, as ferro faer-r'oa.

FF is /-/, the hiss of / prolonged, and some-
what relaxed in the middle, as in English
sti/-/oot. Ex., affatto aaf-fctat-toa.

G before A, 0, U is g ; before E, I is j' t as gara
gaa-raa, gorgo goa-r'goa, guscio goo'shoa ; gesto
jaes'toa, gigante jeegaan'tai.

GG before A, 0, U is g-g, as in English bi^oat ;
before E, I is d-j, as in English ba^/est; as
distraggo deestr'aag'goa, fuggono fooff-yoanoa.

GGH, only used before E, I, is g-g. as in English
"big yeese, as sogghigno soag-gee'ny'oa [18].

GGI not before a vowel is d-jee, as oggi aod-jee [3] ;
before A, O, U, d-j as scheggia skaid-jaa*

GH, only used before E, I, is simple g, as piaghe
pyaa'gai, laghi laa'gee.

GHI before A, E, is almost gy, but the vowel ee
is more distinctly heard, as it were gee, as
ghiaccio gyaat'choa, ghiozzo gyaot'tsoa [3].

GI not before a vowel is jee ; before A, 0, U,
is j, as gi&CQTQ jaachai'r' ai, Giacomo Jaa'koamoa,
giugno joo'ny'oa.

GL before A, O, U is always gl ; before E, I, it
is gl in the following words ONLY : gleba glae'baa
[1], Egle A.i'glai, glenoide glainao'eedai [3],
negligere naiglee'jair' ai, negletto naiglaet-toa,
glifo glee-foa, gliconico gleekao-neekoa, glitto-
grafia gleet' toagr'aafee'aa, gleet' toagraa'feekoa,
anglico aang'gleeJcoa / before I in ALL OTHER
WORDS it is ly' [17 J, or nearly ly, as gli ly'ee,
quegli kwai-ly'ee, scogli skao-lyee, cespugli

GLI before A, E, 0, U is always ty [17], or nearly

ly, as paglia paa-ly'aa, aglio aa-ly'oa, figliuccio
fee-lyoot-choa, dagliene dan-ly'ainai,

GN is always ny 1 [18], or nearly ny, never gn ; as
gnocco 'ny'aok-koa, bisogno beezao'ny'oa, pugni
poo-ny'ee.

GU not before a vowel is goo, but before A, E, I,
0, is almost gw, the vowel being rather more
distinctly heard, as it were goo, as guai gwaa-ee,
sangue saang-ywai, tregua trae-gwaa.

H is never pronounced as h ; it is now used only
in the combinations CH, G-H, which see. When
formerly written before vowels as ' ho hai, ha,
havere,' it was entirely mute ; these words are
now written * 6, ai, a, avere', and read ao, aa-ee
aa, aavai'rai.

I is always ee, except in the combinations CI, GI,
CHI, GHI, which see, and generally before
vowels, where it is y, or nearly ee. Final i
makes the following consonant to be pronounced
double in correct Tuscan.

J final stands for II, and is called ee-ee, as studj
stoo-dee-ee. At the beginning of words it is
written for I, and pronounced nearly as y, but
the vowel is more distinct, as if ee, as jeri yae'r'ee.

L is always I, as lui loo-ee, except in GL which see.

LL is always l-l, as in English sou^ess, as ballo

baal-loa.

M is always m, as mano maa-noa.
MM is always m-m. as in English sham moans, as

fiamma fyaam-ma.
N is always n, except before C, G, followed by A,

O, U, or before CH, GH, foUowed by E, I, in

which cases it is nq, as vincere veen- chair 'at,

fingere feewjair' at. but bianchi byaang-kee, see

NG, NGH.
NG before A, O, U is always ng-g, as in English

"finger," as lungo loong-goa, but before E, I

is always n-j, as piange pyaan-jai,
NGH only used before E, I is always ng-g as in

English " stronger," as lunghi loong-gee.

when close is oa (if anything rather more
inclined to ud), and when open is ao (or very
nearly o or au, which may be used for it). As
in case of E, (which see), the meaning often
depends on the distinction, although it is not
marked in spelling and can be fully learned
from a dictionary alone. The following rules
(also derived from Valentini) apply to numerous
very common cases, and should be studied by
those who wish to pronounce Italian well.

Sec. XIV.

ALPHABETICAL KEY TO ITALIAN PEONUNCIATION.

201

Use oa in words ending like the following :
filatOJO fee-laatoa-yoa, biONDO byoatrdoa, buf-
fONE boof-foa-nai, cONTE koan-tai, amORE
aamoa'r'ai (English people should especially
note this case, as they are apt to say u-mau-r'i),
gelOSO jailoa'soa, with their inflections ; in all
words where replaces Latin U, and IN ALL

UNACCENTED SYLLABLES.

Use ao in words ending like the following :
sciolto shaol'toa (unless they correspond to Latin
ULTUS, as volto voaltoa, ' countenance '),
glORIA glao'r' eeaa, oratORIO oar aatao'r eeoa ;
aUORO '(Ml-lao-r'oa, confORTO koanfaor'-toa,
appOSTO aap-paos-toa, galeOTTO gaaiai-aot'toa,
cagnOLO kaany'ao-loa ; in all words where it
follows U in an accented syllable, as uomo
wao'moa ( nearly) ; in all words ending in 6
(causing the following consonant to be doubled
in pronunciation in correct Tuscan), as amo
aamao- ; in all words where it replaces Latin
AU, as poco pao-koa ; and generally (by no means

always), where it replaces Latin
inao "toa, but voce voa'chat.

as moto

P is always p, as pianta pyaan-taa.

PP is p-p as in English slop-pail, as troppo traop'poa.

QTJ is nearly kw, but the vowel is more distinct,
almost koo, as quale kwaa'lai, or more nearly
kooaa'lai.

R is always r', very strongly trilled, even before
a consonant, even more strongly than in Scotland,
and always with the tip of the tongue, never
with the uvula Carefully distinguish carne
kaar^'nai 'meat,' from cane kaa'nai 'dog.'

S has two sounds s and z, the s is a very sharp
pure hiss, but the z has the voice held only for
a short time, and either rapidly falls into a
gentle s, as in English 'that's hi*!' dhats hizs,
or at the beginning of words begins with a
gentle s.

Use a at the beginning of a word before vowels,
and the sounds k, f, t, and in the middle of
words after the sounds of I, m, n, r', sano saa'-
noa\ scala skaa'laa, schermo skair^'moa sfinge
sfeen'jai, spillo speel'loa, squama skwaa'maa, stelo
stai-loa ; polso poal-soa, censura chainsoo'r'aa,
verso vaer'"soa; also in words ending like
amorOSO aamoar'oa'soa, bramoSIA braamoasee'aa,
animosita aa-neemoa-seetaa- ; in the past tenses
in -esi, -ese, -esero, and after the prefixes di-,
ri-, corresponding to Latin de-, re-.

Use z (very short or nearly sz) at the begin-

ning of a word before the sounds b, d, gr, v, or ?,
m, n, r', as sbaglio 8&6aa'Zy*oa, sdegno szdai-ny'oa,
sgarbo szgaar'-boa, svanire szvaanee'r' ai, smorto
szmaor''toa, snello sznael'loa, sradicare szraa i dee-
kaa'rai ; and z (nearly zs) between two vowelb
(except as before), as rosa raoz'sa, esatto aizaat 1 -
toa, spasimo spaaz'seemoa, esito aez'seetoa; and
simple z short, in the prefixes ' dis-, mis-, be-
fore a vowel, or the sounds of /, d, g, v, or I, m,
n, r\ as disonore deez-oanoa-rai, dis-detta deez-
dait'taa, disgrazia deez-graa'tsiaa.

SS is s-s as in English mis-sent, as assenza aas-
saen'tsaa.

SC before A, 0, U, is simply sk, but before E, I, it
is a very strongly pronounced sh, as scena shoe'-
naa, pesci pai-shee.

SCI before A, 0, U, a very strongly pronounced sh,
as sciocco shoak-ka, cresciuto kraishoo'toa.

T is t with the tip of the tongue against the roots
of the teeth, see D, as tasto taa'stoa.

TT is t-t as in English boo-ree, as f&ttofaat'toa,
quite different from fato faa'toa.

U before a consonant, simple oo, as uno Unno
oo-noa Oon-noa ; before a vowel nearly w, but
the vowel sound it is more distinct, nearly oo ;
after a vowel it is short and slurred on to it, so
as to be counted as a diphthong, but sometimes
forms a distinct syllable as : uovo wao'voa, Laura
Laaoo'-r'aa, paura paa-oo-r'aa. See pp. 47, 49.

V is v, never /, as in vico vee-koa.

VV is v-v, as in English Tve vowed, as avvi aawvee.

Z is either ts [19] or dz [20], and ZZ is either t-tt
or d-dz. The ts sounds are far the most fre-
quent. About 100 words, which must be learned
from a dictionary, take dz ; of these the most
frequent are : manzo maan'dzoa, garzone gaar '-
dzoa-nai, amazzone aamaad-dzoa'iiai, azzurro
aad-dzoor* V oa, brezza braed-dzaa, bizzarre beed-
dzaar''r'oa, bozzo baoddzoa, caprezzo kaapraid'-
dzoa, dozzina doad-dzee'-naa, gazza gaad dzaa,
ga,zzetta,gaad-dzait-taa.la,zza,roiielaad-dzaaroa-nai,
mezzo maed'dzoa, pozzo paod'dzoa 'a hill/ poat'-
tsoa * a well,' razzo raad'dzoa, rozzo road'dzoa.

No rules can be given for the place of the
accent (when not written by a grave accent on
the last syllable). In singing the musical accent
marks it sufficiently.

Most of the preceding rules and examples
have been adapted from F. Valentini's Gruend-
liche Lehre der italienischen Aussprache, Berlin,
1884.

202

ALPHABETICAL KEY TO ECCLESIASTICAL LATIN.

5. XIV.

ECCLESIASTICAL LATIN,

Or that used in Masses and Mediaeval Hymns,
must be treated precisely like Italian. The classi-
cal pronunciation of Latin, from one century "before
to one century after Christ, differed materially
from Italian, but much more materially from the
pronunciation which till very recently was preva-
lent in all, and is still prevalent in most, English
classical schools. The classical pronunciation of
the vowels and consonants was probably the same
as the pronunciation of Italian, except as regards
the letters H, C, G-, and occasionally Y, Z. The
H was probably always pronounced as h in classi-
cal Latin, except in the combinations CH, GH,
PH, RH, TH, where it was usually omitted, so
that these combinations sounded as k, g, p, r, t.
Occasionally, however, purists may have pro-
nounced them as k-h, g-h, p-ti, r-h, t-h. The
C, G were always k, g. The principal distinction
between classical and mediaeval Italian pronuncia-
tion lay in the strict observance of long and short
vowels, and long and short syllables (p. 103a), by
the ancients, and in their use of a musical pitch
accent (p. 104). Those who wish to enter upon
a consideration of these points are referred to my
practical " Hints on the Quantitative Pronuncia-
tion of Latin, for the use of Classical Teachers
and Linguists" (132 pp., Macmillan, 1874). But
the singer has no concern with them. From the
end of the third century A.D. the distinction of
long and short vowels was lost in Latin, and the
pitch accent had sunk to the ordinary English and
Italian force accent (p. 104), the only remnants of
the old pronunciation being the sounds of the
letters and the position of the stress. This position
requires even now a knowledge of the laws of
quantity to fix, but it occasions no trouble to the
singer, because it has been already fixed for him
by the music. In the following examples of words,
and in the Stdbat Mater, hereafter given at length,
the long vowels, which are not usually marked in
our present Latin orthography (itself modern) will
be marked by doubling the initial capital, or by
a, e, I, o, u. They probably sounded as da, ae, ee,
do, do, and always formed long syllables. Other
vowels are short, but if they are followed by two
consonants in the same word, or one in one and the
next in the following word, they formed long
syllables. The old versification depended entirely
upon these long syllables. The modern ecclesias-
tical verse depends entirely on strong and weak
syllables like English. In old verse there were

confluent vowels, as in Italian (see introduction to
Section XV) and this confluent character also
referred to words ending in m, which was never
pronounced before a vowel beginning the next
word. In ecclesiastical Latin there were no con-
fluent vowels, and final m was regularly pronounced.
Double consonants must be distinctly pronounced
twice, as in Italian.

In the following Alphabetical Key, italics mark
the pronunciation to be adopted, in Glossic charac-
ters. The old length of the vowels is marked in
all Latin words, and the length of da aa, ae ae,
ee, ee, do ao, do, do, which may be used in singing
ecclesiastical Latin, is also marked for convenience.
No use is made of the substitute vowels di e, ee ?,
da o, do no, which are more convenient for English
organs. The pronunciation usually adopted in
English schools for the examples, is subjoined for
contrast and avoidance.

A long or short, da, aa, never ai, a, never indistinct;
rarus rda-roos, factum fdak'tdom, fata fda-tda
(not rair'r'us, fak'tum, fai-tu, as in English
schools) .

AE, JE, long, de, aetas de'tdas, aestlvus destee'voos,
musae mdo'sde (not ee'tas, estei'vus, meu'zi, as in
English schools). If de'is found difficult, ai
may be used, but there must be no suspicion of
the vanish ary.

ATT as aaw, that is, as aaod, audivi aawdee-vee (not
audei-vei, as in English schools).

B, always b, bacca bdak'kda, abies aa'bee-des (the
original short a- becoming long under the ac-
cent), abjectus dabydek'tdos (not bak'u, ab-ieez,
abjek'tus, as in English schools). There is an
old custom of pronouncing the prefix OB- as
aop- before t and *, which may or may not be
followed, as obtinuit doptee-ndo-eet or dobtee-
noo-eet (not obtiweuit as in English schools).

BB always bb, subbib5 sdob'beebdo (not sub-iboa as
in English schools).

C, before A, o, u, R, L (not before AE, OE, E, i, Y ,
as k, cano, cano kda-ndo (ecclesiastical pronunci-
ation does not distinguish these words), collum
kdol-ldom, cursus kdor'-sdos, crinis kr'ee-nees,
clamo klda-mao (not kai'noa, kol-um, ker-sus,
kr'ei'nis, klai'moa, as in English schools).

C before AE, OE, E, i, Y, but not in the final syl-
lables -do, cius, always ch, as Caesar Ghde'sdar\
coena chde'nda, cedo chde'ddo, circumcisus cheer 1 '

Sec. XIV.

ALPHABETICAL KEY TO ECCLESIASTICAL LATIN.

203

koomchee'soos, cynicus chee-neekoos (not See'zer,
see'nu, see'doa, ser'kumsei'sus, sin'ikus, as in Eng-
lish schools).

C before -10, -lus, &c., see also T before these com-
binations, ts, jaci5 yda'tsee-ao, concio, contio
kaon-tsido (not jai-shioa, kon-shioa as in English
schools).

CC before A, o, u, R, L, as k-k, before AE OE, E, i, Y
as t-ch, before -10, &c., as t-ts, sacculus saak--
kooloos, occo dok'kdo, occulte dok-kool-tde, accrevi
aak-kr de'vee, acclamo dak-klda'mdo, accendo
aat-chaen'ddo, occisos aot-chee'saos, Accius, Attius
Adt'tsee-oos (not sak-eulus, ok'oa, okul'tee, akr'ee--
vei, aklai'moa, aksen-doa, oksei'soas, Ak'sius or
At'ius, as in English schools).

CH as simple k (never ch), as chorus kdo-roos,
Bacchus Bdak'koos (not kau'rus, Bak'us, as in
English schools).

D as d, do ddo, ad dad (not doa, ad, as in English
schools).

J>D as d-d, add5 aad'ddo (not ad f oa, as in English
schools).

E'long and short, as de, ae ; but if these sounds
are found difficult, ai, e may be used, provided
there is no suspicion of the vanish aiy, et det,
etiam de-tsee-dam, eja de f yda, evocare de-vdo-
kda-rde (not ee'shiam, ee-jaa, evoakair'ri, as in
English schools).

El, if found, must be treated as I ; but it is only
an ancient form.

ETJ, as aew, that is, aeoo ; Europa Aewrdo'pd (not
Euroa-pu, as in English schools).

F as/, fero fde-rdo, lucifer loo-cheefder 1 (notfeer'-
roa, leu-si/er i as in English schools).

FF as /-/, offa aoffae, officina aof-feechee-nda (not
ofu, of-isei-nu, as in English schools).

before A, o, u, B, L (not before AE, OE, E, i, y) as
g; gaudium gaaw > dee-oom, gavisus gdavee'soos,
gobio gdo-bee-do. gula goo'lda, gratia gr' datsee-da,
gloria gldo'r'ee-da (not gau'dium, gaivei'sus, goa,'-
bioa, geu-lu, grai-shiu, glau'r'iu, as in English
schools) .

before AE, OE, E, i, Y, as j, ger5 jde'rdo, gibbus
jeeb'boos, gyrus jee'roos (not jeer-r'oa, jib-us,
jeirrus, as in English schools).

GG before A, o, u, B, L, as g-g; before AE, OE, E, i, Y
as d-j, as aggregavi dag-gr'degda'vee, agger
dad-jder 1 (not ag'r 1 igai'vei, aj-er, as in English
schools) .

GH, if found, is simple g.

H before vowels, h ; after consonants in the same
syllable, omitted; habeo haa-bde-do, mini mee-hee
hujus hoo-yoos (not hai'bioa, mei'ei or mei'hei,
heu-jus, as in English schools).

I, long and short, ee, ee, but if ee is found too
difficult, i may be used : ire ee'r'de, exitus
aek'seetoos, clivi klee-vee (not eir-r i, ek-situs,
klei'vei, as in English schools).

J, a medieval letter, introduced to replace I when
it acted as a consonant, always y, as Janus
Yda-noos, jejunus ydeyoo-noos, jocus ydo-koos,
jucunditas yookoon'deetdas, judicium yoodee'-
tsee-oom (not Jai'nus, jijeu-nus, joa'kus, jeukun--
ditas,jeudish'ium, as in English schools .

K, always k, but not used except in one or two
words, as kalendae kdalden'dde (not kulen 'dee, as
in English schools).

L, always I, laetus Ide-toos (not lee'tus, as in English
schools) .

LL, always l-l, as illaudatus eel-laawdda-toos (not
ilaudai'tus, as in English schools).

M, always m, even when final, as mecum mde-koom
(not mee'kum, as in English schools).

MM, always mm, as immunis eem-moo-nees, gemma
jdtm-mda, (not imeu-nis, jem-u, as in English
schools).

N, always n except before c, G, when these have
the sound of k, g, in which case it becomes ng :
narn ndam, nanis nda'nees, junctus yoongk'toos,
jungo yoong'gao, but jungere t/oon'jder' ae (not
nam, nai'nis,jungk % tus,jung-goa,jun-juri, as in
English schools).

NN, always n-n, as Cannae Kdan-nde (not Kan-i,
like " canny," as in English schools).

0, long and short, always do, ao, but those who
find these sounds too difficult may say oa, o,
without, however, any suspicion of the vanish
oa-w : ovum do-voom, ovis, ovis do'vees, do-vees
(these, of course, are medieval mispronuncia-
tions), obolum^ do'baoloom (not oa'vum, oa'vis,
ob-oalum, as in English schools).

OE, (E, often interchanges with AE, M, andjhas the
same sound : Camoenae, Camaenae; or Camenae
Kdamde'nde (not Kumee-ni, as in English schools) .

P, always p, pater paa'taer\ Appius Adp-pee-oos
(notpai'ter, Ap-ius, as in English schools).

204

ALPHABETICAL KEY TO ECCLESIASTICAL LATIN.

Sec XIV.

PH, either simply/?, or p-h ; but/, which came in
later, may be also used in words from the Greek,
thus Philippus Peeleep'poos or Feeleep'poos, but
triumphaMs tree-oompda'tdos or -p-hda-- (not
Filip-us, trei'umfai'tus, as in English schools).

PP, always p-p, as mappa mdap'paa (not map'u, as
in English schools).

QU, always kdo- or kw- as in Italian: quantum
kwdan-toom (not kwon'tum, as in English schools).

E, always r* very strongly trilled, as in Italian, as
mare maa'r'ae, marceo mdar^'chde-oa, servo saer 1 '-
vda (not mair'r'i, maa'shioa, servoa, as in English
schools).

EH, simply r\ as Rhenus R'de'ndos (not Ree'nus,
as in English schools).

ER, very distinctly doubled as in Italian r'-r' :
terris tder'-r'ees (not ter'-is, as in English schools).

S, always s, never z, or sh, or zh : aves da'vdes,
musas mdo-sdas, v5s vdos, nostrds naos-trdos, op-
posuit dop-pao'sdo eet, repositorium reepdo'see-
tdo'r'ee-dom, occasio aok-kda- see-do, mentior
mden-tee-dor 1 (not ai'veez, meu-zas, voa-s, nos'tr'oas,
opozh'euit, ripoz'itau'rium, okai'zhioa, men'shiaur,
as in English schools).

SC, before A, o, u, n, L, simply sk ; before AE, OE,
E, i, Y, a strong sh : scapulae skda-poolde, scena
shde'nda (not skap'euli, see'nu, as in English
schools). The old pronunciation was always sk.

SCH, always sk: schola skdo-laa, schema skde'mda
(not skoa-lu, skee-mu, as in English schools).

SS, distinctly s-s, as missus mecs-soos (not mis-us as
in English schools).

T, always t, except in the terminations -tius, -tio,
&c., where it becomes ts : totalitas todtda-leetdas,
nuntiare noon-tsee-da-rde, ambitio dambee'tsee-do
(not toatal-itas, nunshiairr'i, ambish'ioa, as in
English schools).

TH, always t, the Italians cannot pronounce th :
theatro tae-da'tr do, thesaurus tdesaawr' oos ^not
thiai'troa, thisau-rus, as in English schools).

TT, a distinct t-t, attulit dat'tooleet (not at'eulit or
ach'eulit, as I have heard occasionally in English
schools .

U, long or short, do, do, or if this is too difficult,
do, uo, as mutus moo toos (not meu'tus, as in
English schools). This is a mediaeval letter,
introduced as the consonant of which Y was the
vowel. In mediaeval print and manuscript we
generally find U for the consonant and V for
the vowel, but in modern books the converse
usage prevails.

V, always as English v, as vivo vee'vdo (not vei'voa,
as in English schools). This was the original
Latin letter, used for the vowel do or do (see U)
and for the related consonant, which some con-
sider to have had the sound of w, and others
(with whom I agree) of v' (p. 646).

W, not used in Latin, not a Latin letter ; if found
in mediasval Latin, to be treated as V.

X, always ks, never gz or ksh : examen eksda-maen,
exeunt eks'ee-oont (not egzai'men, ek'shiunt, as in
many English schools.

Y, long and short, to be treated precisely like I,
that is, as ee, ee, originally introduced to repre-
sent the sound of a Greek vowel, probably ue :
Cyrus Chee-rdos, Cybele Chee'bdelae (not Seir-r'us,
Sib'ilee, as in English Schools).

Z, always dz [20] as in the less usual Italian form,
originally introduced to represent the sound of a
Greek letter, the pronunciation of which is dis-
puted.

Sec. XIV.

ALPHABETICAL KEY TO FRENCH PRONUNCIATION.

205

III. ALPHABETICAL KEY TO FRENCH PROISUNCIATIOK

The French language offers great difficulties to
an English speaker. It has six new non-nasal
vowels, ae [1] of the explanations on p. 193, flA [2],
ao [3], ue [4], eo [5], oe [6], and although a
speaker would remain intelligible who confused ae
with <?, ah with aa, ao with o, and oe with eo, he
becomes very difficult to understand if he confuses
ue with either eu or oo (the first is better than the
last), or eo and oe with er (untrilled r). It is
therefore absolutely necessary to acquire the sounds
of ue and either eo or oe. French has four nasal
vowels, utterly unlike any English sounds aen' [7],
ahn' [8], oan' [9], and oen' [101. If these are
called ang, ong, oang, ung, respectively, the result
is supremely barbarous, but since the sound ng
does not occur in French, these sounds could not
be mistaken for any others, and hence would bo
more intelligible than an, on, oan, un. Observe
the apostrophe after the n', which entirely alters
its meaning in, Glossic. Besides this, the frequent
use of the sound of zh (which we certainly know
in English division, measure divizh'un mezh'ur, but
not at the beginning of words), occasions a diffi-
culty. The consonant ny 1 [18] and the occasional
initial gz, complete the list, so far as the mere
analysis of sounds is concerned. But the method
in which these sounds are connected into syllables,
and the syllables into words, and words are run on
to each other, is so different from anything we
have in English, that no attempt can be made to
describe it in the limited space which can here be
allowed. Learners are recommended to study the
meaning of some easy piece of French, so as to be
familiar with the appearance of the words, and
then to listen with the greatest attention while
it is read out to them very many times by natives,

without themselves attempting to imitate the
sounds, till their ears are thoroughly familiar with
them. By attempting to imitate too early and not
listening sufficiently, pupils scarcely hear any-
thing but their own failures, and generally pro-
nounce wretchedly. No language is so badly pro-
nounced by English school girls as the French they
are made to talk to one another.

The orthography of the French language bears
very little relation to its sound. It is best there-
fore to consult a French pronouncing dictionary.
Tardy* 's Explanatory Pronouncing Dictionary of the
French Language, edited by J. C. Tarver, London,
with the pronunciation in French letters is out of
print. The new and cheap edition of Nugent s
Pocket French Dictionary, and Meadows's dearer
French Dictionary, mark the pronunciation of
French words in English letters, which may be
interpreted by referring in them to words con-
tained in the following key.

Many of the following rules and examples have
been adapted from Le Phonographe ou la Prononda-
tion Franqaise rendue facile a tons les etrangers, par
M. et Mile. Theriat, Paris, 1857, a valuable work'
of which the present writer has vainly endea-
voured to procure a second copy. The follow-
ing rules will therefore be found useful even to
persons well accustomed to read French .

There is no strong accent in any French word
thus, ' complete complete,' komplee-t koarfplaet,
have a totally different effect to English ears as
regards accent. In the following examples no
place of the accent will be marked, and the reader
should try to make the syllables as even in force
as possible, never exceeding tht amount of dif-
ference heard in such English words as White-

206

ALPHABETICAL KEY TO FKENCH PRONUNCIATION.

Sec XIV.

hall, turnpike, primrose, Redhill, breasthigh, retail,
wholesale. See p. 1060.

When no quantity is marked the vowel may be
of medium length, and made longer or shorter at
the fancy of the speaker. When long and short
marks are printed, long and short vowels must be
spoken. These marks are generally put over the
first letter of any combination as de, de, den', but
in case of eo both letters have the short mark, to
shew that extreme brevity has to be observed.

A generally aa, long or short, but frequently ah
before S even when the S is mute, as il parla
eel pdar'-laa, agenda aazhaen'daa, pasur pahsai,
cassette kahsaet, pas pah. See the following
combinations.

A has the same value as A.

A is generally a h [2], as lache lahsh, but many

Frenchmen always use aa.
AEN, not before a vowel, is ahn' [8,] as Caen

Kahn' but before a vowel is aa or aan, as

Caennais or Caenais Kaande.

AI is ae [1], as aise dez, semaine seomaen, irai-je
eeraezh; EXCEPT 1) in gai gai, geai zhai, lait lai,
mai mat, malaise malaisement maalaizai maalai-
zdimahn', papegai paapzhai, quai kai, raisine
raizeenai, je, tu sais, il sait sai, Toquai taokai,
vaisselle vaisael, 2) in the beginning of words,
but at the end of a syllable, when the next
syllable does not begin, with R, LL, as aise aizai,
3) in verbs, as j'ai zhai, j'allai zhaallai.

AI is generally ae [1] long, as fraiche fraesh, game
gden ; EXCEPT before N followed by any vowel
but an unp renounced E, and even in that case
if L or R follow the E, as chaine chainette !
shden shainaet, il enchainera ahn' shdinr aa.

AI not before a vowel is aa-ee, as caique kaa-eek ; |
before a vowel is almost aa-y or ei-y, as ai'eul |
aa-yoel [6], faience faa-'/ahn's or fei-yahns.

AIE is 1) ae [1], when final as vraie vr'ae, (EXCEPT
gaie gai, la paie pae-ee, taie tae-ee,} and in the
middle of words not being parts of verbs, as
gaiete gaetai, 2) ae-ee final in verbs as je paie
pae-ee, que j'aie zhae-ee 3), ai-ee as a diphthong
in the middle of substantives, as paiement paiee-
mahn' 4), ai-ee as two syllables in the middle of
verbs as je paierai pai-eerai.

AIENT 1) as the termination of the third person
plural of the imperfect indicative and conditional

is ae [1], even in singing and in verse, as par-
laient paar'lae, 2), as the termination of the
third person plural of the present indicative or
subjunctive it is ae-ee, as a diphthong in speak-
ing, and ae-yeo in singing, as qu'ila aient keelz-
ae-ee or - ae-yeo.

AIL final or before H, aa-ee as a diphthong, or
nearly ei, as travail traavaa-ee nearly traavei, but
older speakers say aaly 1 [17] ; in other cases it
is AI-L.

AILL 1) before an unpronounced final E, ES,
ENT is aa-ee as a diphthong, as medaille
maidaa-ee, Versailles Vaersaa-ee, <*[u'ils travail-
lent keel traavaa-ee, in singing traa-vaa-yeo, &c.,
2), before any other vowel aa-y or nearly ei-y as
vaillant vaa-yahrt nearly v ei-y ahn' , faillir faa-
yeer, nearly fei-yeer\ Older speakers say
vaaly'ahn' faaly'eer'.

AIM 1) before vowels Al-M, 2), otherwise aen' [7],
as faim faen'.

AIN 1) before vowels AI-N, 2), otherwise aen' [7],
as ainsi aen' see, les saints lae-saen'.

AM 1) before a vowel or M is A-M, 2) otherwise
ahn' [8], as Adam Aadahn\ dam dahrf, quidam
keedahn', Samson Sahn'soan', EXCEPT damner
daanai and its derivatives.

AN 1) before a vowel or N is A-N", 2) otherwise
ahn' [8], as sans sahn' '.

AON is 1) aa-oan' [9] in le fort de Laon Laa-oan\
Pharaon faa-raa-oan' ', 2) oan' [9] in Saint-Laon
Saen-Loan', taon toan' or tahn' , 3) ahn' [8] in
Craon Krahn', faon fahn', Tp&on pahn' , la ville de
Laon Lahn', Saint-Haon Saen'tahn', 4) aa before
another N, as Craonne Kraan, paonne paan,
Laonnaise Laanaez.

ATI is almost always da, [21], as autant oatahn\ but
sometimes ao [3], as Aurore Aor'aor' .

AW only found in f pund in foreign words is treated
as ATI.

AY is 1) aa-ee as a diphthong not before vowels in
baye baa-ee, Biscaye biskaa-ee, and fia-y before
vowels as Bayard Baayaar', Mayenne Many aen,

'pernay

&c., 3) ae-ee as a diphthong, or ae-y before
vowels, in je paye theo pae-ee, layette laeyaet,
and many words, 4) ai-ee in two syllables in
pays pai-ee, paysanne pai-eezaan, abbaye aabai-ee

Sec. XIV.

ALPHABETICAL KEY TO FBENCH PRONUNCIATION.

207

B, BB are generally b, as babil baabee, abbe, aabai,
Abbeville Aabreel ; but B is not pronounced in
plomb, aplomb, surplomb, ploan' [9], aaploan'
suer'ploari, and Colomb koaloan', Lefebvre
Leofaevreo.

C is 1) Jc before consonants, and before A, 0, U,
EXCEPT in cicogne see'/aony' [18], prune de
reine-claude gldtfd, czar gzaar* and its deriva-
tives, second seogoan and its derivatives ; 2)
and also k when final, as bee back, EXCEPT in
accroc uakroa, almanach aalmaanaa, bane bahn'
[8], bec-jaune bai-zhoan, broc broa, clerc klaer\
eric kree, echoes aishae, escroc aiskroa, estomac
aistoamaa, franc fr'ahn' [8], instinct aen'staen'
[7], jonc zhoan [9], lacs lah [2] ' nets,' Saint
Marc Saen' Maur' [7], pore poar, tronc tr'oan' ;
3) A- before E, I, Y, M, (E, as ceux seo [5],
cieux see-eo ; 4) sh in words taken from the
Italian where they are pronounced ch, as ver-
micelle vaer meeshael, violoncelle veeoaloan'shael
[9].

only used before A, 0, U, is always $, as fa9on
faasoan' [9 J.

CO is k in places where the second C would be k,
and ks where the second C would be s, and t-sh
in words from the Italian where they would be
t-ch. as accord aakaor\ acces aaksae [1], Piccini
peet-sheenee.

CH is 1) sh in all old French words, as chercher
shaer'shai [1], 2) k in most words taken re-
cently from Latin, Greek, or modern languages,
EXCEPT Reichstadt R aish-staad, punch poan'sh
[9], Chiron Sheer 'oan' [9], chirurgie sheer uer'-
zhee [4], and its derivatives, catechisme kaatai-
sheezmeo [5]', drachme draagmeo.

D is 1) d generally, as donner daonai, 2) unpro-
nounced when final in the nasal terminations
AND, END, OND, or when preceded by several
vowels or by R, as grand grahn' [8], froid fr'waa,
sourd soor', and in Madrid Maadree ; 3) t when
one of the words in (2) is run on to the following
vowel, as grand homme grahn' -t-dom [3], froid
accueil frwaa-t-aak-oe-ee [6], but grande ame
grahn* d-ahm [8, 2],

DD is 1) d-d (as in ba(f bucks') after E, and in most
foreign words, as reddition raed-dee-syoan' [9],
Adda Aad-daa.

E 1) is very frequently not pronounced at all, and
when pronounced may be eo or oe, for authori-
ties differ ; Ex. Je vous aime mieux que lui,
zheo [5] vooz-aem [1] myeo-k lue-ee [4J, or zhvooz-

Aem ; ce que je lui demande seo keo-zh lue-ee-d
mahn'd ; je ne le retrouve pas zheo-n leo-r' troov
pah [2], que je me repente keo zheo-m raipahn't
[8]. In all these cases it is fully pronounced as
eo in singing, where it is never mute, and may
be lengthened or have as much force on it as we
please even in cases where it must be mute in
speaking, with the sole exceptions of the termina-
tion AIENT, and of E ending a word which is
run on to the following beginning with a vowel,
as frere aine fraer' [1 J ainai. In poetry it counts
for a syllable where it is pronounced in singing.
The general rule in speaking is, " omit E when
its omission will not bring three consonantal
sounds together ; otherwise sound it as eo." The
complete study of all the cases is extremely em-
barrassing. Final-ite, -bre, -sme, &c., must have
eo [5] as aimable aimaableo, Septembre Saeptahn'-
breo, rhumatisme ruemaateesmeo, and NEVER a* in
English 'amiable, September, rheumatism.' 2)
E is ae [1] before final consonant, followed or
not by an unpronounced E, as belle baet, duel
due-ael, Joseph Zhoazdef, il est eel ae ; EXCEPT
avec aavaik, clef klai; 3) E is ae also in the
middle of a word before several consonants,
EXCEPT ennui ahn'nue-ee [8, 4] solennel saolaanael,
indemnite aen' daamneetai [7] .; 4) E is ai [21]
in the verbal terminations ez, er, and many other
cases, which cannot be here enumerated. (The
rules for E occupy six royal octavo pages, in
double column, with small print, in Theriat's
book,of which the above is a very meagre abstract)
E is 1) properly ai [21], as bonte boan'tai, 2) ae
before a consonant, followed by unpronounced
E or eo, as college kaolaez/i, orfevre fror'faevreo,
3) before the sound of r, in the middle of a word,
as misericorde meezaer'eekaor'd [1, 3], 4) ae [1] in
j'etais, etant zhaetde aetahn, preteur praetoer\
preture praetuer'.

E is 1) properly ae [1] as deces daisde, breve brdev,
2) ai before two consonantal sounds which can
begin a syllable, as reglement raigleomahn [5,8],
il lechera eel laishraa.

E is 1) properly de [1] as guepe gdep, pret prde,
2) ai [21] before MI, TI, TU, as blemir blaimeer'.
vetir vaiteer 1 , vetu vaitue, and in the verbs feler,
gener, meler, fdilai, zhdinai, mdilai ; when the
next syllable has not an unpronounced E, and
in some other cases.

El is 1) ae [1] at the end of words, before a
consonant and mute E, before any consonant
but GrN, M, N, in the middle of words, as neige

208

ALPHABETICAL KEY TO FRENCH PRONUNCIATION.

Sec. XIV.

naezh, pleinement pldenmahn' [8], Abeilard
Aabaelaar' [1] ; 2) ai [21] in other cases, as
eider aidder', peineux painoe [6], j'enseignerfti
zhahn'sainy'rai [8, 18.]

EIL final is de-ee forming a diphthong, as conseil
koan'sae-ee [9], soleil saolae-ee, vieil vi/ae-ee.

EILL "before E mute final, is ae-ee [1] forming a
diphthong, but before any other vowel ai-y, as
abeille aabae-ee, merveilleux maer'vaiyoe.

EIM not before a vowel is aen' [7] as Rheims

BIN not before a vowel is aen' [7], as dessein
daisaen' '.

EM not before a vowel is 1) akn' [8], as empire
ahti'peer', emmenager ahn'mainaazhai, remmener
rahn'mnai, except in sempiterne saen'peetaer'nael
[7], and most foreign names, as Wiirtemberg
Vtter'taen'6aer' [4), 2) aem [1] at the end of
names as Jerusalem Zhairuezaalaem, and before
n, as belemnite bailaemneet, EXCEPT indemnite
aen' daamneetai, solemnel saolaanael, and its de-
rivatives,

EN 1) generally a Tin' [8], and when a vowel or N"
follows ahn'-n as enfle ahnflai, enivrvahn'neevr'ai,
ennui ahn'-nue-ee, 2) occasionally aen' [7], espe-
cially in the syllables IEN, YEN, not before a
vowel or N, as bien by aen' , chretien kr'aityaen',
in the syllable PENT A, as pentateuch paen'-
taateok, pentagone paen'taagoan, appendice
aapaendees, precenteur praisaen'toer [6], Ma-
rengo Mnaraen' goa, examen aigzaamaen\ Mentor
Maen'tdor, and many proper names, 4) it is aen
[1] before NE, NENT mute, as chienne shy a en ;
5) it is also often aen in foreign names and words,
as amen aamaen, Beethoven Baitoavaen [German
Bai-t-hoa-fen] ; 6) sometimes aan, before n, as
couenne kwaan, hennir aaneer, nenni naanee.

ENT in the third person plural of verbs is left
unpronounced in reading, but sounds eo [5] in
singing. See AIENT.

EU, 1) has two sounds eo [5] oe [6], but different
orthoepists differ in their discrimination of the
words possessing them ; and Tarver does not
distinguish them at all. It is safest for an
Englishman to use oe short and eo long as in
German; 2) EU is we [4] in j'eus eu, ils eurent
zhue, ue, eelz-uer, and in final GEURE, as
gageure goazhuer' .

EUIL final, oe-ee as a diphthong, as fauteuil
Joatoe-ee [6].

F 1) almost always /; as un osuf oen'-n-oef [10, 6,]
un beuf oen' boef; 2) v in NEUF (the numeral,
not the adjective) before a vowel or mute, as
neuf hommes noev-aom ; 3) is mute in NEUF
(the numeral) before a consonant, as neuf
femmes noe faam, also in le boeuf gras leo bue-
grda [5, 6], une clef uen Mat [2], des cles dae
klai [1] ; un chef-d'oeuvre shai-doevreo [5], un
cerf, des cerfs sder', un nerf de boauf oen'naer deo
boef, des nerfs dae naer' ; un ceuf frais oen'-n-eo
frde> des oeufs frais daez-eo-frde.

FF is always /simple, as difficile deefeeseel.

G 1) before A, 0, U, and before any consonant but
N, S, T, is ff, as gage gaazh, fatigue faateeg,
globe glaob [1], Eughien Akn' ff aen' [8,1] ; 2) it
is g before N at the beginning of a word, aa
gnomonique gnaomaoneek [3] ; and in a few new,
and chiefly technical words, the most usual being
agnat aaf/naa, stagnant staagnahn' ; 3) it is g in
foreign words ending in g, as whig weeg, bang
bahn'ff [8], pouding poodaen'g [7], and also in
joug zhoog (but not in conversation unless a
vowel follows) ; 4) it is k in brig br'eek, bourg
boor'k, except as a termination, as faubourg
foaboor ; 5) it is zh before E, I, Y, as gene zhaen ;
6) it is unpronounced before S and T, as sangsue
sahn'sue [8,4]; vingt vden't [7] (observe only
quatre vingt kdatreo vaen' without t] ; when final
after a nasal vowel, as long loan' [9], poing
pwaen' [7], and in the following words Clugny
Kluenee, Compiegne JZoan'pyaen, signet seenae,
and a few other names

GG is g before A, 0, U. and gzh before E, T, as
aggraver aagr' navai, suggerer suegzhaer'ai.

GN is always ?/' [18], except in the cases under G,
Nos. 2 and 9, as signe seeny\

GUE final is </, as ligue leeg ; but observe briguer
breegai, droguer droyai, and arguer aar'gue ai [4].

GUI is generally gee ; but gue-ee [4] forming a
diphthong in a few words as aiguille aic/ue-ee,
Guise Gue-eez, linguiste laen'gue-eest, ambiguite
ahn'beegue-eetai, aiguiser aiaue-eezai, inextinguible
eenaekstaengue-eebleo.

H is never pronounced in French, but, when the
preceding vowel is not cut off before it, it is said
to be aspire aaspeer, t, as la hauteur laa outoer
[6] des haricots dae aar'eekoa, ies homards lae

I is generally ee, but letween two vowels, or aftei
a consom.nt in the same syllable it may be con
sidered y. as chanteiiez shahn'teoryai [5],

Sec. XIV.

ALPHABETICAL KEY TO FKENCH PRONUNCIATION.

209

1L after A, E, EU, (E, 0, OU, has the same effect
as simple I. See tnose combinations.

ILL in the middle of words, following A, E, EU,
(E, OU, or any consonant, or CU, GU, QU, has
the same effect as simple I ; that is. is ee or eey,
except in a few words. See those combinations.

ILLE final following any consonant except V, acts
as simple I. and is called ee or eey, as famille
faamee, except in Achille, codicille, distille,
instille, mille, tranquille, and a few other words
where it is eel.

1M before B or P is aen' [7], as impossible
aen ' paoseebieo [5] ; otherwise generally eein as
immense eem-mahn's [8].

IS 1 not before a vowels. or //, is regularly aen j [7]. as
bassin baame-t. instinct nenstaen ; otherwise
generally een colline k>iotee . innocent eeuaosahn'

[8].

J is always zh, as in juste zhutst, and never un-
pronounced.

K is always k, but is only used in foreign words.

L is generally /, but is unpronounced in the
terminations -anld. -ault, -aulx. ' -eulx, -ould,
-emit, as Arnauld Aarnoa, faulx foa, and in
chenil sheouee, baril bar'ee, courtil koor'tee, coutil
kootee, tnsilfuezee [4j, gentil zhalm'tee [8], sourcil
aoor'.-ee, and a few others.

LL is generally ', but in an increasing number of
words I- 1, as illegal eel-laigaal. See also ILL

M is m except when it helps to form a nasal vowel
see AIM, AM, EIM, EM, IM, OM, UM. YM
and is sometimes mute. Observe the words
automne oat.aon [3], eondamner koan'daaitai [9],
Eeims Rden's [1]. Abraham Anbraa-aam, Adam
A>Hl,t/m' [8].

MM generally m, but m-m in initial IMM as
immodere eem-maodairai, and in AM MA, in
Gramrnont Gr dam-moan' [9], and a few other
words, and never helps to form a nasal vowel.

N is n, except when it helps to form a nasal vowel
- see AN. AIN T , EIN EN. IN, ON. UN, YN.
It is unpronounced in final ENT, which see.

NN is generally //, sometimes n-n, and does not
help to form a nasal vowel except in ennoblir
ahn'naobleer [8, 3J, ennoie ahn'/iwaa, ennui
aJin'Hiir-tf (with a diphthong), and their de-
rivatives.

is generally ao short [3], and da [21] long a?
hoiiime nrn, chose shorn. See combinations of
O with other letters below.

is always da [21]. as apotre aapoatr'eo [6],
fantome fahntoam [8].

OA is generally O-A, but is waa in foarre fwaar',
joailler zhwaa-eeyai, and its derivatives.

OE is wae [1] in moello mwael, and its derivatives.

OE is wae [1] in Noel Nwael, and waa in coeffe
kwaaf, goelette gwaalaet, and their derivations.

OE is waa in ipoele pwaal, and its derivatives.
(E is ae [1] or ai [21] in foreign words only.
(EIL is oe-ee [6], as a diphthong in this one word.
(EILL is oe-eey [6 , as ceillade oe-eeyaad.
(EU is oe [6] or eo [5], precisely, as EU which see.

01 is regularly waa, as roi rwaa, but in a few
words it is occasionally pronounced wai [21]. It
was often ae [1], but in these words AI is now
generally written, as foible (or faible) fdebleo [5].

OIN 1) not before a vowel is waeiC [7], as loin
Iwam ; 2) before a vowel is waan, as avoine
aavwaan, moineau tnwaanoa.

OM 1) not before a vowel is oniS [9], as nom
ttoan', comte koan" tj except before N as autom-
nale oataomnaal, omnibus aomneebues ; 2) before
a vowel aom, as Rome Rnom.

ON 1) not before a vowel is oari [9], as non noan' ;
2) before a vowel (ton [3]. as colonie kaolaonee.

00 generally oa-ao as cooperer koa-aopair'ai, but in
foreign words da as Waterloo Vaataer'loa.

OU always oo, long or short, as fou foo, poule
pool, or w before a vowel, as douane dwaan, but
is never MO, and never ou.

OU always do long, as gout goo.

OUI, OUIL final. OUILL before a vowel, wee or
we y (properly oo-ee as a diphthong), as oui wee,
fouiller fweeyai.

OY, not before a vowel, the same as 01, waa ; but
before a vowel some speakers say aniy [3], or
ivaoiy, as royaume nvaot-t/otun ; but others prefer
ioaay as rwaa-yoam.

P is p when pronounced ; it is not pronounced in
a final syllable after M, as champ shahu' [8],
prompt proan' [9], temps tahn, compte kant %

210

ALPHABETICAL KEY TO FRENCH PRONUNCIATION.

Sec. XIV.

and also in bapteme baataem [11, corps kdor [3],
coup koo, drap draa, galop gaaloa, loup loo,
sculpteur skueltoer [4,6], trop troa, and some
others.

PH is always /, as phrase fraaz.

PP is always p, except in appetence appeter, where
it is p-p, as ap-paitahn's [8], ap-paitai.

Q always k, never mute, but is always followed by
U, except when final as coq kaok [3], cinq saen'k
[10].

QU generally &, as qualite kaaleetai. qui &<?0 / but
occasionally 7m>, as in quadr- kwaadr 1 - (except
quadrat ka-adraa, quadrille kaadree], adequat
aadaikwaat, aquarelle aakwaar' ael, equateur
aikwaatoer [6], quoi ku-ac, quartz kwaar'ts,
loquace laokwaas, and some other not very
common words.

R always r' when pronounced, with a smart
trill of the tip of the tongue; the pronuncia-
tion with the uvular trill is very common, but
is considered a fault, and not allowed at the
Theatre Fra^ais. It never forms a diphthong
with the preceding vowel as In English dear.
R final is not pronounced in the terminations
-GER,-CHER, -IER, -ILLER, -LER, -YER,
-ER (in the infinitives of verbs , -IER, IERS,
except cher shaer' [1], fier fyaer\ adjective, hier
ee-aer, Thiers Tyaer '. At the Theatre FranQais
the final -R in the termination of verbs is run
on to the following vowel, as aimer une fille
aemaer'-uen [4] feely' [17], but the usual pro-
nunciation leaves it mute, as aemai uen fee.

EH is always r\ as rhubarbe ruebaarb.

RR is generally r\ but in a few words r'-r' as il
courrait eel koor'-r'de fl], arrogant aar'-r'oagahn'
[8] ; the habit of saying r'-r 1 is increasing.

S is s at the beginning of words, and, when
pronounced at all, at the end of words, as aloes
aaloa-aes [1], as das, bis bees, cens sdhn's [8], gens
zhdhn's, helas aildas, lis lees (but lee in fleur de
lis), mars maar's, ours oors, vis vee, except
obus aobuez [4]. In plus, sens, tous, S is some-
times heard and is sometimes mute. S is gene-
rally z between two vowels, as rose rdoz [3],
besoin beozwden' [7], and before B, D, G, R, V,
as shire zbeer\ Sganarelle Zgaanaar 1 ael, Israel
Eezr 1 aa-ael, svelte zvuelt ; and in trans, followed
by a vowel, as transaction trahn'zaaksyoan'
[8, 9], (except transir tra hn' seer 1 , &c.) S is

generally not pronounced at the end of words or
before another consonant, but it runs on to a
following vowel as z,as trois hommes tr'wda-z-aom.

SC initial before E, I, Y, is simple s, as scene saen,
sceptique saepteek [1], unless a vowel precedes,
and then it is often s-s, as ascendant a-us-sahn'-
dahn' [8]

SCH, used in non-French words only, is sh.
SH, used in non-French words only, is sh.

SS almost always simple *, but s-s in sessile saes-
seel [1], and a few unusual words.

T initial is always t. In those words where it
becomes sh in English it is s in French, as
essential aisahu'syael [8 f l]. patience paasyahn s,
condition koan'deesyoan' [9]. T final is most
frequently not pronounced, but observe brut
br'uet [4], but buet, un fait oen [10] faet [1]
'fat faat, huit ue-eet [4 ] (diphthong), vingt
vaen't [7.]. (but vingt sous vnen sooj.

TH is always t, as the tai.

TT is almost always t, but is t-t in litteral leet-
taeraal [1], and a few uncommon, chiefly non-
. French, words

U is always long or short ue [4], as connu kaonue
[3,] except occasionally in G-U, QU, and always
in UM, UN ; see those groups.

U is always ue long [4] .

TJEIL, UEILL are oe-ee [6,] or oe-eey, as accueil
aakoe-ee, cercueil sder, koe-ee, ecueil aikoe-ee,
orgueil aorgoe-ee, recueil reckon ee, nous cueillous

HI is ue-ee [4], forming a diphthong, so that ue
becomes nearly a consonant, resembling w and y
pronounced at the same time. It is better to
pronounce tie distinctly as a separate vowel than
to substitute w, which is the usual very bad
English mispronunciation. Thus lui lue-ee (not
loo-ee or IweeJ, puis ptie-ee (not poo-ee or pweej.

UM is 1) oen [10] in humble oen'bleo, parfum
paar'foen' ; 2) oan [9 , in rumb roanb, Humboldt
Oan'baold (in Germany ffuom'baolt), lumbago
loan'baagoa; 3) aom [3] in factotum /aaktaotaotn,
album aalbnom. te Deum. tai Daiaom. and other
Latin words ; 4) uem [4] before vowels, as
allumette aaluemaet, fumeron fuemr oan\

UN not before vowels, generally oen' [10], as brun

Sec. XIV.

ALPHABETICAL KEY TO FRENCH PRONUNCIATION.

211

br'oen', Lundi Loen'dee ; in a few words oan' [9],
as Dunkerque Doan'kaerk, Undine Oarideen,
&c. ; before vowels uen [4] as unite ueneetai.

UY now only used before vowels, ue-eey [4], the
fie-ee forming a diphthong, see UI, as appuyer
napue-eeyai, La Bruyere Laa Brue-eeyaer .

V is always v, and always pronounced, as vive

veev.

W is only used in foreign words, and is generally
v, as Weber Valbaer [1], waggon vaagoari [9],
but sometimes tv, as whig weeg, whist weest,
Windsor Wnendzoar [7]. It is not pronounced
in Newton Noetoan' [6], New York Noe Yaork.

X is generally ks, as sextuple saekstuepleo [1, 4, 5],
" " "I"I. . ~*[3]; but XC,

XS, are also ks, as exces aiksae [1], X is gz in

boxeur baoksoer' [6], onyx aoneeks [3] :

Xenophon Gzainoafoan 1 [9], aiijzahri pleo [8, 5],
exameri aigzaamaerf [1], hex.a,wetoeaiffzaamaetr'eo
[1, 5], coexister koa-aigzeestai. X is s in final
six sees, dix ^m-, and in soixante swaasahnt [8].
X is z in six, dix, when run on to a vowel, as
six ans seezahn', dix oeufs deezeo [5], and dixhuit
deezue-eet [4] (diphthong), deux apotres deozaa-
poatreo, deuxieme, dixieme, &c. X final is not
pronounced in faix fde [1], paix pde (but Aix

AeksJ , faulx/0 [21], taux toa, chevaux sheovoa,
&c., Bordeaux Baor'dda, &c. ; cheveux sheovoe
[6], heureux eor'oe, &c., voix vwaa, croix krwaa*
epoux ijt?00, doux doo, perdrix paerdree, prix
pr'ee, reflux reqflue [5, 4], and a few others.

Y is ee, and is treated precisely like Y.

Z is always z, as gaz gaaz, except in German
final TZ, and Spanish final Z, when it becomes
s, as seltz saelz [1], Cruz Kr'ues [4]. Z final in
the -EZ of verbs is not pronounced, as soyez
swaoyal or swaayai, and in assez aasai, chez
shai, nez n, rez r'at, riz r'ee.

ZZ is <fz in almost all Italian words used in French,
as mezzo maedzoa.

Example of difficulties. Et puis une vieille
carogne et un enfant borgne out vendu de mauvais
vin au peuple bete devant la foule ; y etes-vous,
mon ami ? Ai pue-ee (diphthong) uen vyai-ee
kaar 'ao^y 1 ai oen'-n-ahn'fahn' baor mj oan' valiri '-
due-d moavae vueri oa poepleo baet deovalut It/a fool ,
ee aet-vou, maon-aamee ? And then an old hag and
a child, one-eyed, have sold of (some) bad wine to
the people stupid before the crowd ; there are you
(do you understand), my friend ?

NOTE ON "LIAISONS."

The final consonant, though it may be mute at
the end of a word which closes a sentence, or pre-
cedes a word beginning with a consonant, is very
frequently elective when a vowel follows ; thus
chez lui ou chez elle shai lueee oo shaiz ael. This
is called a " liaison" lee-aizoari , or " connection,"
and is, of course, most important in all French
speaking and singing, and for French versification
(p. 214a, at bottom). But unfortunately no general
rules can be given to distinguish those words which
will form a liaison. The diversity of usage may be
seen by such examples as: pas un pahz oen\ pas
un ami pahz oerin aamee, cent &mis.sahn't aamee,
cent pas et un sahn' pah ai oen\ mon pere moan'
paer , mon ami maon aamee, de son sang deo soan'
saJm ', sang et eau sahn'k ai oa, and so on. Gener-
ally C runs on as Jc, avec elle aavaek ad ; D as t,
grand homme grahn't oam ; G as k, rang eleve
r' ahn" 1 k ailvni ; S as z, les orgues Inez aor'g ; X as z,
six hommes seez aom.

Tn the above Alphabetical Key the case of mute

and connected final consonants is merely indicated.
But to know what words are to be treated in thie
way and what are not, reference must be made to
a dictionary which pays particular attention to
the subject. John Bellows in his beautiful little
" Dictionary for the Pocket, French and English,
English and French, both divisions on the same
page," second edition, 1877 (London, Truebner),
indicates every case where the final consonant
is pronounced by adding no mark ; where the final
consonant is pronounced before a vowel, but not
otherwise, by one turned period, as chez- ; and
where the final consonant is never pronounced at
all, by two turned periods, as coup". But space did
not allow him to distinguish the cases where the
consonant is occasionally connected and occasion-
ally unconnected with the following vowel. More
information on this difficult point will be found in
Feline's Pronouncing Vocabulary (p. 1926), and
in Littre s great French Dictionary. But in soma
cases usage is not entirely fixed.

212

EXAMPLES OF SOXOS IX HERMAN, ITALIAN, AND FRRNCH

XV. EXAMPLES OF SONGS IN GERMAN, ITALIAN, & FRENCH.

Arrangement. In order to exemplify the pre-
ceding Alphabetical Keys, a few songs have been
selected by Mr. Curwen in German, Italian, and
French, to which I have added the pronuncia-
tion in Glossic, and also a verbal translation into
English, which, at Mr. Curwen's request, has also
been put into Glossic. The single system of
spelling thus used serves to make the difference
between English and foreign pronunciation dis-
tinct to the eye. The arrangement is as fol-
lows :

I. Left hand column, Original Orthography.
The words of the songs are arranged according
to the plan of their versification, without any of
the repetitions which occur in the music, and, for
ease of reference, the alternate lines are numbered.
No particular order or classification has been at-
tempted, but the German songs are placed first,
then the Italian, and lastly the French. The
name of the composer, and, when known, that
that of the writer is added to the title, both in
the native orthography.

II. Right hand column, Pronunciation in Glossic.
The indications of the preceding Alphabetical Keys
are carried out without making any of those Eng-
lish substitutions, which are indicated at the begin-
ning of each of those tables. These substitutions
may of course be made by the singer, but they
necessarily disfigure the pronunciation. They
may be made with the least bad effect in German,

and then in Italian. French with false nasal
vowels, sounds very bad indeed. It will be
observed that the position of the accent is indi-
cated in German and Italian, where it is strong-ly
marked by the speaker, but not in French, where
it is less strongly marked, and is variable. The
length of vowels is indicated by the positions oi
the accent mark ( ) after a long vowel, or after the
| first consonant following a short vowel, and ia
I strictly observed in German The same position
i of the accent mark in Italian marks the long and
| short vowel as usually felt by English speakers,
but as already observed (p. 147) the Italian vowels
are naturally of medial length, and their actual
length varies with the expression. When, how-
ever, they alter their length they preserve their
quality. Thus aa, ee, oa, when short* never become
the English a, i, o.

1. In German, aa, ee, are used in closed syl-
lables to guide the reader, as it would be quite
| wrong to say haand eekyh for hdand eekyh; in-
deed, decidedly worse than to say hand iyh.

In German also it will be found that many
words seem to vary their final consonants at
pleasure. The theory of German pronunciation
is that b, d, </, gy'h, z, never occur at the end
of words, but are always changed into ;?, t, k,
kyh, *, respectively, however they may be writ-
ten. But in practice, when the words ending- with
any of the former consonants run on to woras be-

Sec. XV.

EXAMPLES OF SONGS IN GERMAN, ITALIAN, AJN1) FRENCH.

ginning with any of them, or with a vowel, tho
former consonants are retained, but in other cases
they are altered. Englishmen, however, may
follow their own custom a of pronunciation in this
sase without offending a German ear, which would
be scarcely conscious of the alteration. Through-
out a large section of Germany speakers and writers
seem unable to distinguish^ from b, t from d, ky'h
from gyh, and occasionally k from g, but they
usually distinguish 5 from z.

The German versification resembles the English
so closely as to occasion no difficulty to the reader
who observes the place of the accent.

2. In Italian it is always possible for an Eng-
lishman to use i, e, o, uo, for ee, ae, do, do, in closed
syllables, but it adds much to the beauty of the
pronunciation not to do so. In open syllables he
may use du for do, but ae must have a so and quite
distinct from di, and da (not du or do} must be pro-
nounced, where marked, before r'.

A difficulty arises from the confluent vowels
which take the place of English diphthongs, but
are in Italian pronounced much more distinctly
separate. When these occur within the same
word as in " rio," ree-od, " ei,'' ai'ee, the short
mark indicates that the od or ee forms only one
acknowledged syllable with the previous ee, and
that the two are sung to one note of music without
" attacking " the od or ee separately, so that there is
no cessation of voice between the ee and the 3d. In
the frequent cases where ee, do, come first, y and w
are written, as the sounds are almost the same, but
they are by no means quite the same in Italian, as
in English. Thus gwaer'-r'aa poassyai'dai would
be more properly and fully written goo-aer'-r'aa,
poas-see-ai'dai. This Italian slur has been already
considered when the elements both occur in the
same word, on p. 45a.

When these confluent vowels are in different
words, ending one and beginning the other, the
mark v _ x is used to indicate the union, thus destine

in, daistee'noa f een y speme un spae'mai oon. In

this case the two vowels although usually pro-
nounced quite distinctly, are sung to a single

musical note (unless there is a pause in the sense)
and are reckoned as a single syllable in the verse
(even when there is a break in the sense, so
that there is an absolute silence between them in
reading), but they very rarely form anything ap-
proaching to a real English diphthong like ei,
oi, ou. Thus in Diserto sulla Terra, v. 2, Col
rio destino in guerra, Koal ree-oa daistee'noa ^,een
gwaer'-raa, there are only seven syllables, which
ought to be pointed out by slurs in music. (The
English edition of the music gives, by mistake,
two notes to ...noa^een.) Again (ibid. v. 3',
e sola speme un cor Ae soa-laa spae-mai^oon
cao'r' has only six syllables. (In the music the
...mai^oon fall to one semiquaver.) Thus, for
these two cases, the music is properly divided :

koal ree'oa dai - stee noa^een gwaer

r'aa ae soa- laa spae'tnai^oon kao'r'.

In other respects Italian versification offers no
difficulty to English speakers.

3. French versification is founded upon an older
system of pronunciation which prevailed when its
laws were established, and which is carried out in
music. In modern French speaking the final -e,
-ent, of so many French words, is not pronounced
at all, although it may count as a syllable in the
verse. Even on the stage, in declaiming tragic
verse, these " mute <?'s " are still really mute, in
most cases, though their presence is occasionally
indicated, and are always present to the mind of
the speaker. In singing on the other hand,
these -e, -ent (except in the termination -aient),
are always pronounced, and may have a very
long and forte note assigned to them. They
must therefore be attacked by singers just as
if they were written " eu " in French letters.
Whether they should be called eo or oe (the two
sounds of French " eu,") is a matter of dispute

214

EXAMPLES OF SONGS IN GERMAN, ITALIAN, AND FRENCH.

Sec. XV

among Frenchmen ; I seem generally to hear eo,
which I have therefore written, and many French-
men agree with me. Others do not distinguish
consciously between eo and oe. Both sounds, when
final bear so close a resemblance to our final -u or
-er (when no trill r is added to the vocal r), that
either sound (carefully avoiding to trill the r) may
be used for it by Englishmen. Thus in "Ou
vou ez-vous aller ?" " dites, ma jeune belle,'' which
in prose would be deet, maa zhoen bael, is sung to

dee - teo maa zhoe - tieo bael - eo.
(In the English edition one note only is wrongly
assigned to " belle," clearly on account of the
English translation.) As Englishmen in singing
French songs try to avoid pronouncing the " mute
e " as much as possible, and thus produce a very
strange effect on ears accustomed to French sing-
ing, they should be very careful, to observe this
characteristic usage.

To this pronunciation of final -e (not of -ent]
there is one remarkable exception. If a vowel
follows, the e is perfectly mute, being entirely
elided. This is the only case in French poetry in
which a word is allowed to end with a written
vowel when the next word begins with one.
Hence, there are no " confluent " vowels between
words in French singing or versification as there
are in Italian. Open vowels do occur, however,
occasionally, but then there is generally some
written, but unpronounced consonant interposed,
or the word changes its sound. Thus, " la voile
ouvre son aile," elides the " e " of " voile," before
the "ou" of "ouvre;" the "son,' which would
end with a pure vowel as soan' changes its pro-
nunciation and becomes saon, so that the line is
sung to the notes above written as | laa : vwaal \
oo-vreo saon : ae-leo j. The word "un" before
a vowel becomes oen'n in the same way. Many
consonants not usually pronounced at the end of
words are brought to life again by a following
vowel. There are very few cases of an open

vowel in the examples, which are generally far
from classical, and in most of those cases the con-
sonant is written : (La Manola, v. 28, raipoan'dee :
wee; v. 12, Zhootaa Aaraagoanaizaa ; v. 18,
Maadree(d) ae. Partant pour la Syrie, v. 21 ; fee
Eezaabaeleo.}

In colloquial French the final -0, mute, is almost
always (not always) omitted, but an emphatic ut-
terance calls it faintly to life. In reading poetry
(as distinguished from singing) this vowel is also
omitted, but as the line would then be too short by
one or more syllables, many French readers seek to
supply the missing syllable by lengthening the
consonant preceding the omitted -e. In the pro-
nunciation marked below, the Italic eo points out
these cases. In rending the poetry, then, omit the
eo and dwell somewhat on the preceding consonant,
or make a little pause after it, as dit laazhoenn
baell, for ' dite? la jeun? belL?.

In the alphabetic table the length of the vowels
is marked as assigned by M. Theriat. In M.
Tarver's edition of Tardy's dictionary the length
of the vowels is also much dwelled upon. In
M. Feline's dictionary almost every vowel is
indicated as short, and the tendency of modern
French pronunciation is to shorten all vowels. In
these examples I have left the length of the
vowels unmarked, because in listening carefully
when they were read over to me by two French
gentlemen, I found no certainty in the use of
long and short. In singing, of course, the
length of the vowel is determined by that of
the musical note assigned to the syllable, and the
extreme variability of French usage in this respect
has been taken so much advantage of by musical
composers, that when a French song is sung to
English words, it is often extremely difficult to get
out our syllables, hampered with numerous conso-
nants, with sufficient rapidity, and when we do so,
the alteration of rhythm, quantity, and accent, makes
the result much more unintelligible than usual.
Even in Italian translations of French operas (as
Gounod's Faust) the same evil is greatly felt.

Sec. XV.

EXAMPLES OF SONGS IN GKB.MA.M, ITALIAN, AND 1'HENCH.

215

The French syllable is supposed theoretically to
terminate in a vowel whenever the next consonant
or consonants can be pronounced without the
preceding vowel. Thia plan may therefore be
always followed in singing. But the actual
usage of Frenchmen (as laid down by the late
M. Jobert, in his " Colloquial French,") is to
run the vowel on to the following consonant
wherever it is practicable, and, of course, also
to unite that consonant with the following vowel ;
thus : belle bael-eo, not bae-leo. French singers
also seem to me to follow this practice where
convenient for them. English singers are there-
fore at full liberty to use either plan, in any word
as it may best suit them. In speaking, however,
and reading, they should follow the latter plan,
and call pacifique paas-eef-eek, and not paa-see-feek.

As already indicated no proper diphthongs occur
in French (pp. 45, 49), but 00, ?, occasionally
run on to the following vowel, and are then
written w, y y in these examples, as : soit swaa,
oui wee, yeux yeo, for which sooaa, odee, eeeo, would
be more correct. In the case of ue this notation
had to remain as lui lueee, suis sueee, nuit nueee,
Juanetta zhueaanaetaa ; and similarly for ee final,
as : gouvernail goovaernaaee, cueillir koe-eeyeer'.

French singing has altogether a different style
from English. The pronunciation given is not
intended to do more than enable a Frenchman to
recognise his' own language in an Englishman's
mouth. To acquire the true French delivery in
talking or singing, is a labour of many years to
an Englishman, and complete success is very rare
indeed. Frenchmen find the same difficulty with
our language.

III. Bottom of page, Translation. This transla-
tion is arranged to serve as a glossary for those
quite unacquainted with German, Italian, and
French. It follows the original, line for line,
and word for word, in the same order, which is^
of course, often not the English order. When,
However, the foreign order of the words threatens
to render the passage unintelligible, a little pre-
fixed figure points to the English order, thus :

" Maigloeckchen," v 11, luoks z dhem 3 fren-dlili
l at, means luoks at dhem fren'dlili.

Sometimes the literal translation of a word
would be unintelligible or misleading, and in
that case another interpretation is added in par-
enthesis preceded by a hyphen, as (ib. v. 1.) :
Mai-bel (lili ov dhi val'ij, which shows that what
is translated "May-bell" (a translation necessary
for the whole thought of the little poem), is the
name of a flower which in England is called " lily
of the valley."

Sometimes it is necessary to use more than one
word to translate what is either one word, or is
written as one word in the original, such words are
then connected by a hyphen, as (ib. v. 3) : ZUDQ
tsoom is rendered too-d/ti, and allzumal aal'tsoomaa'l
is rendered aul-at-wuns.

Sometimes it is necessary to insert a word in
English for which there is no foreign equivalent in
the text, although it is implied by the usage of the
language. Such a word is inserted in parentheses
which are not hyphened to another word, as in
" Wie kann ich froh," v. 3, dhat too-mee soa deer
(iz) , and ibid v. 8, hoo (iz) faar hens ! where there
is no German word corresponding to iz.

Sometimes, on the contrary, a word, such as the
definite article, is found in the original where no
equivalent word would be used in English, and in
this case it is duly translated and placed in square
brackets, as in " In diesen heiligen Hallen " v. 2,
[dhi'] ven-jens, in German, die Rache dee Eaakh-u.

Finally, sometimes it might prove difficult to
make sense of several words, or of a whole phrase,
and in this case an equivalent is added in hy
phened parentheses placed after the last word,
while a hyphen is also placed before the first word
of the phrase. Thus: "Maigloeckchen," v. 21,
-Nou hoaldz-it au'lsoa mee -not moar-fnoa long'ger)
-too hous-fat hoa'mj -(Nou ei, too, Jean stai noa long'-
ger at hoa-mj, shews that the whole long phrase
from -Nou to -(Nou is reconstructed in the last
parenthesis, and also that within the long phrase,
two short ones have required re -writing, for not
moar means noa long-ger, and fro hous means at hoa'm

210

EXAMPLES OF SONGS IN u I KM AN, ITALIAN, AXD FRENCH.

Sec. XV.

By these simple means the real meaning of the
passage is so fully indicated that it has hot ap-
peared necessary to add a free translation.

In the mode of rendering the English into
Glossic, I have been more exact than would be
necessary for ordinary purposes. The place of the
accent is marked in every word, and the position
of the accent mark shows whether the vowel
is long or short. The trilled r' is everywhere
distinguished from the vocal r which forms a
diphthong with the preceding long vowel, and
with er forms a peculiar indistinct sound already
spoken of. But vocal r is never written except
where it may be followed in speech by a trilled r'.
The diphthongs ei, oi, ou, eu, are left unanalysed.
The final a, and often the initial a, is generally
pronounced obscurely like u or er (without any
permission to trill) but it has been preserved as in
ordinary glossic. The final el, em, en, when not
acknowledged to be simply the vocal consonants I,
m, n, are written in this manner, whatever the
original vowel may have been, as " -al, -ol; -om }
-um, -em ; -an, -en ;" and er replaces all " ur, er,
ir," and unaccented " -ar, -er, -ir, -or, -our,

or." The final unaccented "-age" of "pillage,''
is written -ej, as pil'ej, &c. The unaccented
" e," when not before " r, ' or in the same
syllable with a consonant, is written i, as beloved
biluvd, rejoiced rijoi'st. See Glossic Index.

The names of foreign composers are given with
the proper native pronunciation in the column
of pronunciation, but in the translation they
are fitted with thoroughly English sounds. The
French take the liberty of pronouncing all names
which occur in French speaking according to tho
rules of French orthography. There is no fixed
rule in English. Thus we say Han-dl, Moazaccrt,
for the German Hen-del, Moa-tsaart, sometimes
even Wag-ner for Vaa-yhner, and so on. While
other names, as Goethe Geo-tu, Miiller Mueler,
often entirely puzzle the speaker, although such
thoroughly English sounds as Gai-tu, Mil'er, would
bo perfectly intelligible to every German. It does
not appear that Men-dlsen is more objectionable
than Jon-sen, although, of course, there is no
objection to using Men- dels -zoa-n at full length.
This conception of anglicising the pronunciation
of foreign names is carried out in Section XVi

Sec. XV

EXAMPLES OF SONGS IN GERMAN, ITALIAN, AND FRENCH

217

I. GERMAN SONGS.

ORIGINAL ORTHOGRAPHY.

1 Maiglockchen und die Blumelein.

Musik von Mendelssohn.
Maiglockchen lautet in dem Thai,
2 Das klingt so hell und fein :

" So kommt zurn Reigen allzurnal,
4 Ihr lieben Blumelein !"

Die Blumchen blau und gelb und weiss,
6 Die kommeii all herbei,

Vergissmeinnicht, und Ehrenpreis,
8 Und Veilchen sind dabei.

Maiglockchen spielt zum Tanz im Nu,
1 Und alle tanzen dann. >

Der Mond sieht ihnen f reundlich ogu,
12 Hat seine Freude d ran.

Den Junker lleif vordross das sehr,
i4 Er kommt in's Ttfal hinein.

Maiglockchen spielt zum Tanz nicht mehr
16 Fort sind die Bliimelein.

Doch kaum der Reif das Thai verliisst,
18 Da rufet weider schnell

Maiglockchen zu dem Friihlingsfest,
20 Und lautet doppelt hell.

Nun halt's auch mich nicht mehr zu Haus,
22 Maiglockchen ruft auch mich.

Die Bliimchen gehn zum Tanz hinaus,
24 Zum Tanze geh' auch ich.

GLOSSIC PRONUNCIATION.
1 Maay gloek'kyhen uond dee Blue'mulaayn.

Moozee'k faon Men- dels- zoan.
Maaygloek'ky'hen loHet in darm Taa-1,
2 Daas kleengkt zoa hel uont faayn :

" Zoa kaomt tsoom R'aaygy'hen aal"tsoomaa'l,
4 Ee-r' lee'ben Blue-mulaayn !"

Dee Blue'mky'hen blaaw uond gelb uond v'aays,
6 Dee kaonren aal' her'baay,

Fer'gees-maaynneeky'ht', uond Ai'r'enpraay '8,
8 Uont Faaylky'hen zee'nd daabaay.

Maay gloek'ky 'hen shpee'lt tsoom Taants eein
10 Uond aal-u taan-tsen. daan-, [Noo,

Der Moa-nd zee-t ee-nen frorndliky'h tsoo,
12 Haat zaaynu Froi'du draan.

Dai-n Juong-ker Raayf ferdraos- daas zai'r',
14 Er' kaomt eens Taa-1 heenaayn.

Maay gloek'ky' hen shpee It tsoom Taants neeky'ht
1 6 Faor' t zeend dee Blue mulaay n . [marr'

Daokh kaawn der Raayf daas Taa'l ferles't,
18 Daa roo'fet v'ee'der' shnel

Maaygloek'ky'hen tsoo dai'm Frue leengksfes't,
20 Uond loi'tet daop'elt hel.

[Haaws,

Noo'n hel'ts aawkh meeky'h neeky'ht marr' tsoo
22 Maay gloekky' hen roo-ft aawkh meeky'h.

Dee Blue'mky'hen garn tsoom Taants heenaawa,
24 Tsoom Taan-tsu gai aawkh eeky'h.

VERBAL GLOSSIC TRANSLATION.

.1 Mai-bel and dhl Flou-rrets.

Meu-zik bei Men-dlsen.

Mai bel-(liH of dhi val'i cheim/s in the val'i,
Dhat soundz soa br'eit and fein-(el'igent) :
" Soa kum too-dhi daan'sing aul-at-wuns
Yeo deer flou rr'ets."

Dhi nou-rr'ets bloo and yel-oa and wheit,
6 Dhai kum aul hidh'er-bei,

Faurget'-mee-not and spee'dwel,
6 And vei'oalet aar dhair-bei.

Mai-bel plaiz faur-dhi daans in-a twingkling,
1 And aul daans dhen,

Dhi Moon luoks 2 dhem 3 fren - dlili ! at,
12 (It) haz its joi dhairr'at'.

3 Dhi 4 skweir 5 Hoar-fraust 2 anoi'd ! dhat 6 soar
-(much),

14 He kums in'too-dhi val'i hens-in,
Mai-hel plai-z faur-dhi daans -not moar-(noa

long-ger,
16 -Foa-rth aar- (gon awai' aar) dhi flou'rr'ets.

-Hauever skai'rsli dhi Hoa-rfr'aust dhi val'i leevz
- (Yet az soon az dhi hoa'rf raust haz left dhi vaH ) ,
18 ^hen 3 kauls->,inverts^ 4 again 5 kwik'li

2 Mai-hel too dhi spr'ing-feest
20 And cheimz dnb'li br'ertli-(klee*rli),

-Non hoaldz-it au'lsoa mee-not moar-(noa long-,
ger -too hous- at hoa - m)-(Nou ei, too, kan
stai no long-ger at hoa-m).
22 Mai-hel kaulz au-lsoa mee,

Dhi flou'rr'ets goa too-dhi daans hens-out,
24 Too-dhi daans goa au'lsoa ei.

218

EXAMPLES C7 SONGS IN GERMAN.

Sec. XV.

ORIGINAL ORTHOGRAPHY.

2. Ich wollt' meine Lieb' '.

Musik von Mendelssohn.
Ich wollt' meine Lieb ergosse sich
2 All in ein einzig Wort,

Das gab' ich den lust' gen Winden,
4 Die triigen es lustig fort.

Sie tragen zu Dir, Geliebte,
6 Das lieberfiillte Wort,

Du horst es zu jeder Stunde,
8 Du horst es an jedem Ort.

Und hast du zum nachtlichen Schlummer
10 Geschlossen die Augen kaum,

So wird mein Bild dich verfolgen,
12 Bis in den tiefsten Traum.

3. Wie kaun ich froh.

Musik von Mendelssohn.
Wie kann ich froh und lustig sein ?
2 Wie kaun ich gehn mit Band und Strauss ?

Wenn der herz'ge Junge, der mir so lieb,
4 1st iiber die Berge weit hinaus !

'S 1st nicht der frost' ge Winter wind,
6 'S ist nicht der Schnee und Sturm und Grauss,

Doch immer kommen mir Thranen in 's Aug',
8 Denk' ich an ihn, der weit hinaus !

Der lange Winter ist vorbei,
10 Der Friihling putzt die Birken aus,

Es grunt und bliiht und lacht der Mai,
12 Dann kehrt er heim, der weit hinaus !

GLOSSIC PRONUNCIATION.

2. Eeky'h v' aolt maaynu Lee-b.

Moozee k faon Men-delszoa-n.
Eeky'h v'oalt' maaynu Leeb ergoes'u zeeky'h
2 Aal een aayn aayntseegy h V'aor't,

Daas gae-b eeky'h dain luos-teegy'hen Veen den,
4 Dee tr'ue-gy'hen es luos'teegy'h faor't.

Zee tr'aa-ghen tsoo Deer', Gelee ptu,
6 Daas lee berfuel'tu V'aor't,

Doo heo-rst es tsoo yai der Shtuon-du,
8 Doo heo rst es aan yardem Aor't.

Uont haast doo tsoom naeky'h'tleeky'hen
10 Geshlaos'en dee Aawghen kaawm, [Shluorrrer

Zoa v'eert maayn Beeld deeky'h ferfaol'gy'hen,
12 Bees een dain tee-fsten Tr'aawm.

3. V'ee kaan eeky'h froa.

Moozee-k faon Men dels-zoa-n.

V'ee kaan eeky'h froa uond luos teegy'h zaayn ?

2 V'ee kaan eeky'h garn meet Baand uont

Shtraaws ? [leep,

V'en der' her'-tsgy'hu yuong-u, dair' meer' zoa

4 Best ue-ber dee Ber'-gy'hu v'aayt heen-aaws.

S-eestneeky'htder' fr'aos'tgy'hu Veen 'terv Sent,
6 S- eest neeky'ht der' Shnai uont Shtuor'm uond

Graaws,
Daokh eenver' kaom'en meer' Trai nen een -s

Aawgh,
8 Dengk eeky'h aan ee'n, dair' v'aayt heen-aaws !

Der' laang-u Veen-ter eest faor'baay,
10 Der Frue-leeng puotst dee Beer' -ken aaws,

Es grue'nt uond blue't uond laakh't der Maay,
12 Daan kai'r't er haaym, dair' v'aayt heen-aaws !

VERBAL GLOSSIC TRANSLATION.

2. Ei wuod mei luv,

Meu'zik bei Men-dlsen.
Ei wuod mei luv wuod-poa'r itseli
2 Aul in-too a sing-1 werd,

Dhat 1 wuod- 3 giv 2 ei too-dhi mer'-i windz,
4 Dhai wuod-bair it mer'-ili foa'rth.

Dhai kar'-i too dhee, biluvd,
6 Dhi luv-fil-d werd,

Dhoxi hee-rr'est it at evri our,
8 Dhou heerr'est it at evri plai'8.

And hast dhou faur-dhi nei'tli slunrber
10 Shut dhi -(eur) eiz skai-rsli -(only lately),

Soa - in dhat kai-s) wil mei invej dhee perseu-
12 "Ontil- in-too -(soa faar az) dhi dee-pest dr'ee-m.

3. Sou kan ei chee'rfuol ?

Meu zik bei Men dlsen.
Hou kan ei chee rfuol and mer'-i bee ?
2 How kan ei goa widh r'ib en and noa-zgai ?

When dhi chaa rming euth, dhat too mee soa deer
4 Iz oa-ver dhi mou-ntenz faar hens ! (iz)

It iz not dhi fr'os ti win -ter- wind,
6 It iz not dhi snoa and staurm and hor' er,

Yet ever kum too-mee tee - rz in too-dhi ei,
8 Thingk ei on him, hoo (iz) faar hens !

Dhi long win-ter iz paast,
10 Dhi spr'ing deks dhi berches out, f [dhi] ^ai,

[Dhair] 2 groa-z-gr'ee'n 3 and 4 bloomz 5 and 6 laafs
12 Dhen Viternz J hee hoa'm, hoo (iz) faar hens !

Sec. XV.

EXAMPLES OF SONGS IN GERMAN.

219

ORIGINAL ORTHOGRAPHY.
4. Isis und Osiris.

Musik von Mozart.
Isis und Osiris, schenket

Der Weisheit Geist dem neuen Paar !
Die ihr der Wand'rer Schritte lenket
Starkt rait Geduld sie in Gefahr !

Lasst sie der Priif ung Friichte sehen '
Doch sollen sie zu Grabe gehen,
So lohnt der Tugend kiihnen Lauf ,
Nehmt sie in eurem Wohnsitz auf !

5. In diesen heiligen Hallen !

Musik von Mozart.
In diesen heil'gen Hallen,

Kennt man die Rache nicht,
Und ist ein Mensch gef alien,

Fiihrt Liebe ihn zur Pflicht.
Dann wandelt er an Freundes Hand
Vergniigt und froh ins bess're Land !

In diesen heil'gen Mauern,

Wo Mensch den Menschen liebt,

Kann kein Verrather lauern,
Weil man dem Feind vergiebt.

Wen solche Lehren nicht erfreun,

Verdieuet nicht ein Mensch zu seyn.

GLOSSIC PRONUNCIATION.

4. Oa JEe'sees uond Oasee'rees.

Moozee-k faon Moa-tsaar't.
Oa Ee'sees uond Oasee-r'ees, sheng-ket
2 Der Vaayz'haayt Gaayst daim noi-en Paa - r'.

Dee ee'r' der' V'aan-dr'er' Shr'eet'u leng-ket,
4 Miter' kt meet Geduol'd zee een Gefaa-r !

Laast zee der Prue-fuong Frueky'h'tu zaren !
6 Daokh zaol'en zee tsoo Graa-bu gai-en,

Zoa loa'nt der Tuo'ghent kue-nen Laawf
8 Narmt zee een orr'em V'oa'nzeets aawf.

5. Een dee'zen haayleegy' hen Haal'en.

Moozee'k faon Moa tsaar't
Een dee'zen haaylgy'hen Haal-en,
2 Kent maan dee Raakh'u neeky'ht,

Uond eest aayn Mensh gefaal-en,
4 Fue'r't Lee'bu ee-n tsoor' Pfleeky'ht.

Daan v'aan-delt ai*r' aan Froi-ndes Haant
6 Fer'gnue'ky'ht uont fr'oa eens bes-r'u Laant !

Een dee'zen haay Igy'hen Maawer'n
8 Voa Mensh dain Mensh'en lee'pt,

Kaan kaayn Fer'r'ai'ter laawer'n,
10 V'aayl maan daim Faaynt fergee'pt.

Warn zaol'ky'hu Lai T' en neekv'ht erfroi'n,
12 Ferdee'net neeky'ht aayn Mensh tsoo zaayn.

VERBAL GLOSSIC
4. Oa Ei'sis and Oasei'rr'is.

Meu-zeik bei Moazaa rt.

Oa Ei'sis and Oaserrr'is giv,

2 3 0v- [dhi] 4 wiz-dum l (the) 2 Spir -it too-dhi neu
pair!

2 Hoo *yee 6 ov-dhi 7 won'der'erz 4 (dhi) 5 steps 3 geid,
4 Str'eng'kthen with pai'shens dhem in dai'njer !

J Let 2 dhem 6 ov-dhi "tr'ei'el *(dhi) 5 fr'oots 3 see!
6 Yet, -shal dhai too gr'arv goa-(if dhai must

dei),
Soa-^in dhat kai'Si riwau-rd 4 ov-[dhi] 5 ver-teu

!(dhi) 2 boald 3 koa rs, 10

8 Tai'k dhem in eur dwel-ing-plai-s up! (tai'k up

=risee'v). I 12

TRANSLATION

5. In dhee z hoa'li haulz.

Meu-zik bei Moazaa'rt.

In dheez hoali haulz,
2 2 Noa - z : wun [dhi] 4 ven*jens 3 not,

And if (dhair) iz a man fau'ln,
4 2 Lee - ds x luv 3 him in too-[dhi] deu-ti.

Dhen 2 wau - ks J hee at (a)-fr'endz hand,
6 R'ijoi'st and glad in too-dhi better land.

In dheez hoa'li wau'lz,

Whair man [dhi] man luvz,

Kan noa tr'arter lour,

Bikau-z J wun 3 dhi 4 en'imi 2 faurgivz.

Hoom such dokir'inz not r'ijors,

Dizer'vz not a man too bee.

220

EXAMPLES OF SONGS IN GERMAN.

Sec. XV.

ORIGINAL ORTHOGRAPHY.

6. Der Erlkonig.

Gedicht von Goethe, Musik von Schubert.

Wer reitet so spat durch Nacht und Wind ?
2 Es ist der Vater mit seinem kind.

Er hat den Knaben wohl in dem Arm,
4 Er fasst ihn sicher, er halt ihn warm.

" Mein Sohn, was birgstdu so bang deinGesicht?" |
6 " Siehst. Vater, du den Erlkonig nicht ?

" Den Erlenkonig mit Kron' und Schweif ? " I
8 " Mein Sohn, es ist nur ein Nebelstreif."

" Du liebes Kind komm, geh mit mir !
10 " Gar schbne Spiele spiel' ich mit dir !

" Manch' bunte Blumen sind an dern Strand.
12 " Meine Mutter hat manch' gulden Gewand."

" Mein Vater, mein Vater, und horest du nicht,
14 " Was Erlenkonig mir leise verspricht ? "

" Sey ruhig, bleibe ruhig, mein Kind ;
16 " In diirren Blattern sauselt der Wind ! "

GLOSSIC PRONUNCIATION.

6. Der JSr'l-keo'neeky'h.

Gedeeky'h't faon Geo'tu, Moozee'k faon Shoo'ber't
V'ai-r' r'aaytet zoa shpae't duor'ky'h Naakht

uond V'eent ?
2 Es eest der' Faaier' meet zaaynem Keent.

Er' haat dai-n Knaa'ben v'oa'l een dai-m Aar'm,
4 Er' faast een zeeky'lrer', er' helt een v'aar'm.
"Maayn Zoa'n, v'aas beer'ky'hst doo zoa baang

daayn Gezeeky'ht ? "
6"Zee - st, Faaier', doo dai-n Er'1-keo'neegy'h

neekyht ?
"Dai-n Er'len-keo-neegy'h meet Kr'oa-n uont

Shv'aayf ? "
8 " Maayn Zoa - n, est eest noo'r' aayn Nai'bel-

shtraayf."

" Doo lee'bes Keent, kaom, gai meet mee r' !
10 " Gaar' sheo'nu Shpee'lu shpeel' eeky'h meet

dee-r' !
" Maanky'h buoniu Bloo men zeend aan dai'm

Shtr'aant.
12 " Maaynu Muot'er' haat maanky'h guol'den

Gev'aant."
" Maayn Faa'ter', maayn Faa'ter', uont heo'r'est

doo neeky'ht,
14" V'aas Er'-lenkeo'neegy'h mee'r' laayzu fer'-

shpr'eeky'ht?"-
" Zaay r'oo'eeky'h, blaaybu r'oo'eeky'h, maayn

Keent
16 " Een duer'-en Blet'er'n zorzelt der' V'eent! '

VERBAL GLOSSIC

6. Dhi Er'lking-(k\n.g ov dhi au-lder gr'oa'v.)
Poa'em bei Gai tu, meu'zik bei Shoo'bert.

Hoo r'eidz soa lai't thr'oo neit and wind ?
2 It iz dhi faa-dher widh hiz cheild.

Hee haz dhi boi wel in dhi- (hiz) aarm,
4 Hee hoa Idz him sarfli, hee hoa'ldz- (keeps) him

"Mei sun, whei hei'dst dhou soa fr'ei'tend dhei

fai-s?"
6 " See-st, faa-dher, dhou dhi Er-lking not ?

" Dhi Er Iking widh kroun and skaarf ? "
8 " Mei sun, it iz oa-nli a fog-str'ip."

TRANSLATION.

" Dhou dee-r cheild, kum, goa widh mee !
10"Ver'-i beu'tifuol gai-mz -plai ei-(ei wil plai)
widh dhee !

" Men-i kul'urd flourz aar on dhi str'and.
12 " Mei mudh-er haz men-i (a) goa-lden r'oa-b."-

"Mei faa-dher, mei faa-dher, andhee-rr'est dhou

not,
14 " What Er-lking too-mee in-loa-toa-nz pr'om--

isez ? "

" Bee kwei-et, r'imai-n kwei-et, mei cheild,
16 '* In dr'ei lee-vz r'us'lz dhi wind.'

Sec.

18
20

22
24

30
32

XV. EXAMPLES OF SONGS IN GERMAN.

ORIGINAL ORTHOGRAPHY.

Der Erlkoniy Fortsetzung.

223

Willst, feiner Knabe, du mit mir gehen,
Meine Tochter sollen dich warten schb'n ;
Meine Tochter fiihren den nachtlichen Reihn,
Und wiegen undtanzen und singen dich ein."

Mein Vater, mein Vater, und siehst du nicht

dort,

Erlkonigs Tochter am diistern Ort ? "

Mein Sohn, mein Sohn, ich seh' es genau,

Es scheinen die alten Weiden so grau ! "

Ich liebe dich, mich reitzt deine schone

Gestalt,
TTnd bist du nicht willig, so branch' ich

Gewalt!"

Mein Vater, mein Vater, jetzt fasst er mich an !
Erlkb'nig hat mir ein Leids gethan ! "

Dem Vater grauset's er reitet geschwind
Er halt in Armen das achzende Kind,
Er reicht den Hof mit Miihe und Noth
In seinen Armen das Kind war todt !

GLOSSIC PRONUNCIATION.
Der Erl-keo-neekyh Faor't-zets'uong.

" V'eelst, faayner' Knaa-bu, doo meet

gai-n,
18 "Maaynu Toeky'h'ter' zaol'en deeky'h v'aar'-ten,

sheo'n ;
" Maaynu Toeky'lrter' fue-r'en darn neky'h't-

leeky'hen R'aayn,

20 " Uond v'ee-gy'hen uont taan-tsen uont zeeng-en
deeky'h aayn.''

" Maayn Faa'ter', maayn Faa'ter', uond zee st

doo neeky'ht daor't,
22 " Er'1-keo'neeky'hs Toeky'h ter' aam dues'ter'n

Aort?"
" Maayn Zoa*n, maayn Zoa'n, eeky'h zai es-

genaaw,

24 " Es shaaynen dee aal'ten V'aayden zoa
gr'aaw ! "

"Eeky'h lee'bu deeky'h, meeky'h r'aaytst

daaynu sheo'nu Geshtaal-t,
26" Uond beest doo neeky'h v'eel'eeky'h, zoa

br'aawkh eeky'h Gev'aaH '. '
" Maayn Faa'ter', maayn Faa-ter', yetst faast er'

meeky'h aa-n !

28 " Er'1-keo'neeky h haat mee'r' aayn Laayts
getaa-n! "

Dai-m Faa'ter' gr'aawzet-s er r'aaytet ge-

shv cent

30 Er' helt een aar'nien daas eky'h'tsendu Keent
Er' r'aaky'ht dai-n Hoa'f meet Mueu uondi

Noa-t
32 Een zaaynen Aa/*men daas Keent v'aar' toa't!

VERBAL GLOSSIC TRANSLATION.

Dhi Er'lking Kuntin-euai'shen.

" Wilt, fein-(jen-tlj boi, dhou widh mee goa,
18 " Mei dau'terz shal dhee tend beu-tifuoli ;

" Mei dau'terz (wil) lee'd dhi nei'tli daans,
20 " And (wil) r'ok and daans and sing dhee in-(too
slee'p)."

" Mei faa dher, mei faa'dher, and seest dhou not

dhair,
22 "Erlkingz dau'terz at-dhi gloo-mi piai-s ?"

" Mei sun, mei sun, ei see it per-fektli ;
24 (i Dhair shein dhi oa-ld wil'oaz soa gr'ai ! "

" Ei luv dhee, me atrak ts dhei beu-tifuol form,
26 " And aart dhou not wil ing, soa- (in dhat kais)

(wil) euz ei foa'rs ! "
" Mei faa-dher, mei faa-dher, ! nou 3 see - zez 2 hee

5 mee 4 on !

28 " Erlking -haz too mee a mis*cheef dun-(haz.
kild mee) ! "

(Too) - 3 dhi 4 faa dher 2 hor'-ifeiz- 1 it-(dhi faa-dher

shud-er/) hee r'eidz swif-tli
30 Heehoa - ldzin(hiz)aarmzdhi gT'oa-ningcheild
Hee r'ee-chez dhi faarm-hous widh-lai'ber and

nee'd-(pain and dif ikelti)
32 In hiz aarmz dhi cheild woz ded !

222

EXAMPLES OF SONGS IN GERMVX.

Sec. XV.

ORIGINAL ORTHOGRAPHY.

7. Der Wanderer.

Musik von Schubert.

Ich komme vom Gebirge her,
i Es dampft das Thai, es braust das Meer.

Ich wandle fort, bin wenig froh,
t Und immer fragt der Seufzer wo ?
Immer, wo ?

> Die Sonne diinkt mich hier so kalt,

Die Bliithe welk, das Leben alt,
J Und was sio reden, leerer schall !

Ich bin ein Fremdling iiberall.
10 Wo bist du ? mein geliebtes Land!

Gesucht, geahnt, und nie gekannt !
12 Das Land, das Land so hoffnungsgriin,

Das Land wo meine Rosen bluhn,
14 Wo meine Freunde wandeln gehn,

Wo meine Todten auferstehn,
16 Das Land das meine Sprache spricht

O Land ! wo bist du ?

18 Ich wandle still, bin wenig froh,
Und immer fragt der Seufzer, wo ?

20 Immer, wo ?

Im Geisterhauch tont's mir zuriick :

22 " Dort wo du nicht bist. ist das Gliick ! "

GLOSSIC PRONUNCIATION.
7. Der Vaan'derer.

Moozee-k faon Shoo'ber't.
Eeky'h kaonru faom Gebeer'-gv'hu harr',
2 Es daampft daas Taa-1, es br'aawst daas Mai-r'.
Eeky'h v'aan'dlu faor't, been v'arneeky'h fr'oa,
4 Uond eenrer' fr'aa-kht der' Zorftser', v'oa?
Eenver'. v'oa?

6 Dee Zaon-u dueng-kt meeky'h hee-r' zoa kaalt,

Dee Blue-tu v'elk, daas Lai-ben Salt,
8 Uond v'aas zee r'ai den, lai'r'er' Shaal!

Eeky'h been aayn Fr'enrdleeng ue'ber'aal.
10 V'oa beest doo ? maayn gelee-ptes Laant !
Gezoo-kht, ge-aa-nt, uond nee gekaan-t !
12 Daas Laant, daas Laant, zoa haof-nuongz-gr'ue'n,

Daas Laant v'oa maaynu R'oa'zen blue'n,
14 V'oa maaynu Fr'orndu v'aan-deln gai'n,

V'oa maaynu Toa-ten aawf-er'shtai-n,
16 Daas Laant daas maaynu Shpr'aa'khu
shpr'eeky'ht

Oa Laant! v'oa beest doo ?

18 Eeky'h v'aan-dlu shteel, been v'arneeky'h fr'oa,
Uond eem'er' fr'aa'kht der' Zorftser', v'oa?

20 Eenrer' v'oa ?

Eem Gaayster'haawkh teo'nt-s mee'r' tsoo-
ruek :

22 "Daor't v'oa doo neeky'ht beest eest daas Gluek'!"

VERBAL GLOSSIC TRANSLATION.

7. DM Won-derer.

Meu-zik bei Shoo'bert.
Ei kum from-dhi mou'nten-land hidh'er,
2 [Dhair] 3 vai - perz x dhi 2 val'i, [dhair] 3 roa'rz ! dhi

2 see.

Ei wau-k foarth, am -lit'l joi-us-(ver'-i sad),
4 And ever aasks dhi sei, whair ?
Ever, whair ?

6 Dhi sun seemz-too mee heer soa koa'ld,
Dhi bios uni fai ded, [dhi] leif oa-ld,

8 And whot dhai spee-k, em ti sound !

Ei am a str'arnjer evr'i- whair'.
10 Whair aart dhou ? mei biluv d kmrtr'i !
Saut, foarfel't, and never noa-n !

12 Dhi kun-tr'i, dhi kun'tr'i, soa hoa-p-gree-n- (soa

gree-n widh hoa-p).
Dhi kun-tr'i, whair inei r'oa-zez bloa,
14 Whair mei fr'endz wau'king goa,
Whair mei ded-wunz r'eiz-agarn,
16 Dhi kun-tr'i dhat mei lang-gwej spee-ks

Oa kun-tr'i! whair aart dhou ?

18 Ei wau-k sei-lent, am lit'l joi us,

And ever aasks dhi sei. whair ?
20 Ever, whair ?

-In-dhi goast-breth-'az if spoa-kn bei spir'-its)

soundz-it too-mee bak :
22 " Dhair whair dhou not aart, iz [dhi] hap-ines !"

Sec X7.

EXAMPLES OF SONGS IN GERMAN.

ORIGINAL ORTHOGRAPHY ;

&. Adelaide.

Musik von Beethoven. !

Einsam wandelt dein Freund im Friihlingsgarten, I
2 Mild vom lieblichen Zauherlicht umflossen,

Das durch wankende Bliithenzweige zittert, j

4 Adelaide !

In der spieg elnden Fluth. im Schnee der Alpen, ;
6 In des sinkenden Tages Goldgewolke,

Im Gefilde der Sterne strahlt dein Bildniss I

8 Adelaide !

Abendliiftchen im zarten Laube fliistern,
10 Silberglockchen des Mays im Grase sauseln,

Wellen rauschen und Nachtigallen floten,
12 ' Adelaide !

Einst, Wunder ! entbliiht auf meinem Grabe,
14 Eine Blume, der Asche meines Herzens ;

Deutlich schimmert auf jedemPurpurblattchen,
16 Adelaide !

GLOSSIC PRONUNCIATION.

8. Aadailaa-ee'dii

Moozee-k faon Bart-hoa-fen.

Aaynzaam v'aan-delt daayn Fr'oind eem

Fr' ue -leengzgaa'r' ten,
2 Meeld faom lee'bleeky'hen Tsaawber leeky'ht

uomflaos-en.
Daas door'ky'h v'aang'kendu Blue 'ten- tsv'aay -

gy'hu tsit'er't,
4 Aadailaa-ee'du 1

Een der' shpee-gy'helnden Floo't, eem Shnai

der' Aal-pen, [ku,

6 Een des zeeng-kenden Taa-ghes Gaol'd-gev'oel'-

Ee'm Gefeel'du der' Shter' nu shtr'aa'lt daayn

Beel-dnees
8 Aadailaa-ee'du !

Aa-bendluef-tky'hen eem tsaar -ten Laawbu

flues'tei-'n,
10 Zeel'bergloek-ky'hen des Maayz eem Graa-zu

zoi'zeln,

V'el en raawshen uond naak'teegaal'en fleo'ten,
12 Aadailaa-ee-du !

Aaynst, oa V'uon'der' ! entblue't aawf maaynem

Gr'aa'bu
14 Aay-nu Bloo'mu, der' Aaslru maaynes Her'--

tsens ;
Dortleeky'h sheem-er't aawf yai'dem Poor'-

poor'blet'ky'hen,
16 Aadailaa-ee-du !

VERBAL GLOSSIC TRANSLATION,

Meu-zik bei Bee't-hoa'ven.

Sol-iter'i wau-ks dhei fr'end-(luver) in-dhi

gaa-rden-ov-spr'ing,
2 Jen'tli boi-dhi luvli maj'ik-leit surou'nded

Which thr'oo nod'ing nour-br'aa nchez tr'emblz
4 Ad ilaid !

In dhi mir'-ur'ing flud, in-dhi snoa ov-dhi Alps,
6 x ln 4 ov-dhi 5 sing-king 6 dai 2 (dhi 3 goa - ld-kloudz

In-dhi feeld ov-dhi staarz beemz dhei im-ej,
S Ad-ilaid \

Ee'vning-lit'1-airz in-dhi ten-der foa'liej whis -

per,
10 -Sil-ver-lit-1 belz ov [dhi] Mai-(lil-iz ov dhi

val'i) in-dhi gr'aas r'us-1,
Wai'vz br'aul, and nei'tdnggailz peip,

12 Ad-ilaid!

Heerr'aa-fter, oa wurrder-(mir'akl), (wil -

blos'um-up upon' mei gr'ai'v
14 A flour, from) dhi ash-(ded-r'imarnz) ov mei

haa'rt ;
Klee-rli (wil) shein upon* evr'i per'pl-lit'1-leef,

16 Ad-ilaid !

224

EXAMPLES OF SONGS IN GERMAN.

Sec. XV..

ORIGINAL ORTHOGRAPHY.

9. LebewohL

Musik von Schubert.

Schon naht, um uns zu scheiden,
2 Der letzte Augenblick,

In's Paradies der Freuden
4 Kehr' ohne mich zuriick !

Der Tod kann Freiheit geben
6 Hit milder Freundeshand ;

Geh' ein zu neuem Lebeu
8 In jenes bess're Land.

Nicht lang' sind wir geschieden
10 Bald werd' ich bei dir sein,

Die kurze Frist hienieden
12 Denk' ich in Liebe dein.

Leb'wohl denn, bis der Morgen
14 Des neuen Tags erscheint,

Der, fern von Erdensorgen,
16 Auf ewig uns vereint.

GLOSSIC PRONUNCIATION.
9. Lai-buv'oa-l.

Moozee-k faon Shoo'ber't.

Shoa'n naa't, oom uons tsoo shaayden,
2 Der' let'stu Aawghenbleek-,

Een-s Paar'aadee-s der' Fr orden
4 Karr' oa'nu meeky'h tsoor'uek- !

Der' Toa-t kaan Fr'aayhaayt gai'ben
6 Meet meel'der' Fr'orndes-haan't ;

Gai aayn tsoo nor em Lai -ben,
8 Een yai-nes bes-r'u Laan-t.

Neeky'ht laang zeend v'ee-r' geshee den,
10 Baald v'er'd eeky'h baay deeV zaayn.

Dee kuor' 'tsu Fr'eest hee-nee'den,
12 Dengk eeky'h een Lee-bu daayn.

Lai'bv'oa-1 den, bees der' Maor'-gy'hen
14 Des noi'en Taa-khs er'shaaynt,

Dai-r', fer'n faon Er'-denzaor'-gy'hen
16 Aavvf ai-v'eegy'h uons fer'aay'nt.

VERBAL GLOSSIC TRANSLATION.

9. Fair'wel-.

Meu-zik bei Shoo'bert.

Aulr'edi aproa-chez, in-au-rder us too sep'ur'ait,
2 Dhi laast moa-ment,

In-too-dhi par'-adeis ov joiz
4 R iter-n widhou't mee bak !

[Dhi] J deth 2 iz-ai'bl-too 4 fr'ee-dum 3 giv
6 Widh jen-tl frendz-hand.

Goa in, faur dhi neu leif ,
8 In-too dhat bet - er-land.

Not long -aar wee-(shal wee bee) sep'ur'aitod,
10 Soo'n shal ei widh dhee bee,

Dhi shaurt in*tervel-ov-teim heer-biloa ,
12 -Thingk ei- ei shal thingk) in luv ov-dhne

Fairwel* dhen, til dhi mau-rning
14 Ov dhi neu dai apee'rz,

Which, faar from erth-sor'oaz
16 Faur ever us eunei'tR.

Sec. XV.

EXAMPLES Of SONGS IN ITALIAN.

225

II. ITALIAN

ORIGINAL ORTHOGRAPHY.

1. Diserto sulla Terra.

Musica di Verdi.

Diserto sulla terra
2 Col rio destino in guerra

E ( sola speme un cor
4 Al Trovator.

Ma s'ei quel cor possiede,
6 Bello di casta fede,

E' d'ogni re maggior
8 II Trovator.

2. II balen del suo sorriso.

Musica di Verdi.

II balen del suo sorriso
2 D'una stella vince ii raggio ;

11 fulgor del suo bel viso
4 Novo infonde me corraggio.

Ah! 1'amor, 1'amore onde ardo
Le favelli in mio favor,

Sperda il sole d'un suo sguardo
La tempesta del mio cor.

SONGS.

GLOSSIC PRONUNCIATION.

1. Deesaer^'toa sool'laa Taer'r'aa.

Moo-zeekaa dee Vaer'-dee.

Deesaer' -toa sooHaa Taer' -r'aa
2 Koal r'ee-oo daistee-noa_een gwaer'-r'aa

Ae soa'laa spae-mai_oon kao - r'
4 Aal Troa-vaatoa-r'.

Maa s-ai-ee kwail kao-r' poassyardai
6 Baelioa dee kaas-taa fardai

Ae d-oa-ny'ee r'ae- maad-jyoa-r'
8 Eel Troa-vaatoaV.

2 Eel baalai'n dail soo'oa soar 'r 'ee'zoa.

Moo-zeekaa dee Vaer'-dee.

Eel baalai-n dail soo-oa soar'-r'ee-zoa
2 D-oo-naa stai'1-laa vee-n-chai_eel r'aa'd-jyoa;

Eel foolgoa'r' dail soo oa bael vee-zoa
4 Nao'voa^eenfoa-ndai mai koar'-r'aa - d-jyoa.

Aa! 1- aamoa-r', 1- aamoa-r'ai_oa-ndai_aa-r'-doa,
Lai faavael'lee een mee'oa faavoa-r',

Spaer'-daa eel soa'lai d-oo-n soo-oa sgwaar'-doa
Laa taimpaes-taa dail mee-oa kao'r'.

VERBAL GLOSSIC TRANSLATION.

l.Dizer-ted upon'-[dhi] Erth.

Meu-sik bei Verdi.
Dizer-ted upon'-[dhi] Erth,
2 -Widh-[dhi] gil-ti-(kr'oo-el) fait in- at) waur

- Conten-ding agai-nst kr'oo-el fai't)
3 Iz 4 ^the) 5 oa - nli 6 hoa-p ! a 2 haart
4 Too-dhi Tr'oo'baadoo-r.

But if-hee dhat haart pozes-ez,
6 Beirtifuol widh chai-st farth,

3 Iz 5 dhan- 6 ever'i 7 king 4 gr'ai'ter
8 l l)hi 2 Tr'oo - baadoo r.

2. Dhi Lei-tning ov-[dhi] her Smeil.

Meu-zik bei Ver-di.
Dhi lei'tning ov-[dhi] her smeii
2 4 0v 5 a 6 staar ^ong-kerz (serpaa-sez) 2 dhi 3 rai,

Dhi br'ei'tnes ov-[dhi] her beu'tifuol fais
4 2 Neu Unfeu'zez 4 (in;-mee 3 kur' - ej.

Aa! 2 dhi 3 luv, dhi luv, whens- 4 (widh- which) *ei

6 burn,

6 8 (Too) 9 her Jmai-'speek 10 in n mei 12 fai-ver,
'-Mai^disper-s 2 dhi 3 sun 4 ov 5 wun [her] 6 luok
8 8 Dhi 9 tem-pest 10 ov n mei 12 haart,
-(Mai dhi sun ov wun ov her luoks
Dispers dhi tern-pest ov mei haart).

226

EXAMPLES OF SONGS IN ITALIAN.

Sec. XV.

ORIGINAL ORTHOGRAPHY.
3. Stride la Vampa.

Musica di Verdi.
Stride la vampa
2 La folia indomita
Corre a quel foco
4 Lieta in sembianza.

IJrli di gioja
6 Intorno eccheggiano,

Cinta di sgherri
8 Donna s'avanza.

Sinistra splende
10 Sui volti orribili

La tetra fiamma
12 Che s'alza al ciel.

Stride la vampa,
14 Giunge la vittima,

Nero vestita,
16 Discinta e scalza.

Grido feroce
18 Di morte levasi,

L'eco il repete
20 Di balza in balza.

Sinistra splende
22 Sui volti orribili

La tetra fiamma
24 Che s'alza al ciel.

GLOSSIC PRONUNCIATION.

3. Str'ee'dai laa Vaam'paa,

Moo'zeekaa dee Vaer'
Str'ee'dai laa vaanrpaa
2 Laa faoHaa eendao-meetaa
Koar'-r'ai^aa kwail fao'koa
4 Lyae-taa^een saimbyaan tsaa.

Oor'-lee dee jyao-yaa
6 Eentoar'-noa_aik-kaid jyaanoa,

Cheen-taa dee zgair'-r'ee
8 Daon'naa s- aavaan'tsaa.

Seenee'str'aa splaen-dai
10 Soo'ee voal'tee_oar'r'ee'beelee

Laa tae'tr'aa fyaaui'maa
12 Kai s- aal'tsaa^aal chyaei.

Str'ee'dai laa vaanrpaa
14 Joon-jai laa veet'teemaa,

Nai'r'oa vaistee'taa,
16 Deesheen-taa_ai skaal'tsaa.

Gr'ee-doa fairoa'chai
18 Dee maor''tai lae'vaasee,

L-ae'koa_eel reepae-tai
20 Dee baaKsaa een baal'tsaa.

Seenee'str'aa splaen-dai
22 Soo - ee voal'tai_oar'r'ee-beelee

Laa tae'tr'aa fyaanvmaa
24 Kai s-aal -tsaa_aal chyae'l.

VERBAL GLOSSIC TRANSLATION.

3. Krak'lz dhi Flai'm.

Meu'zik bei Verdi.
Kr'ak Iz dhi flai'm,
2 Dhi kr'oud untai md- (ruf , roo'd'

R'unz too dhat feir
t Glad in apee'rr'ens.

Shouts ov joi
6 Ar'ou-nd ek'oa,

Sur'oun-ded bei gaardz
8 (A.) lai'di 2 [herself] ^dvaan-sez.

Il-oa'mend sheinz
10 On-dhi kou-ntenensez hor''ibl

Dhi hid'yus flai-m
12 Which 2 itself l r'ai-zez too-[dhi] hern.

Krak'lz dhi flai-m,
14 Ar'ei'vz dhi vik tim,

-Blackly kloa'dhd-(dr'est in blak)
16 Unger't and shoo'les.

Kr'ei feer'oa-shus
18 Ov deth r'ai'zez- itself,

Dhi- ek-oa 2 it Vipee'ts
20 Fr'om r'ok too r'ok.

II oa'mend sheinz
22 On dhi kou'ntenensez hor''ibl

Dhi hid -y us flai'm
24 Which 2 itseH Varzez too- [dhi] hevn.

Sec. XV.

EXAMPLES OF SONGS IN ITALIAN.

227

ORIGINAL ORTHOGRAPHY.

4. Soave Imagine.

Musica di Mercadante

Soave imagine
2 D'arnor, di pace,

Tu spiri all' anima
4 Dolce vigor.

Se tal delizia
6 M'invidi, o Cielo,

E' troppo barbaro
8 II tuo rigor.

5. Lascia cliin pianga.

Musica di Handel.
Armida dispietata
2 Colla forza d'abisso,

Rapimmi al caro ciel
4 De' miei contenti.

E qui con duolo eterno
6 Viva mi tiene.

In tormento inferno.
8 Signor, deh per pieta,

Laseiami piaugere.
10 Lascia ch' io pianga

La dura sorte,
12 E che sospiri

La liberta.
14 II duol infranga

Queste ritorte

16 De' miei martiri

Sol per pieta.

GLOSSIC PRONUNCIATION.

4. Soa-aa'vai Eemaa'jeenai.

Moo zeekaa di Maer'kaadaan'tai.

Soa-aa- vai_eemaa- j eenai
2 D- aamoa-r', dee paa-chai,

Too spee-r'ee^aall aa-iieemaa
4 Doa'lchai veegoa-r'.

Sai taal dailee-tsee-aa
6 M- eenvee - dee,_oa chyaeHoa,

Ae traop-poa baa-rbaar'oa
8 Eel too-oa reegoa-r'.

5. Laa'shyaa k-ee'oa pyaan'gaa.

Moo-zeekaa dee Haerrdel
Aar'mee-daa dee-spyaitaa'taa
2 Koal-laa faor' tsaa d- aabees-soa

Raapeem-mee_aal kaa*roa chyae'l
4 Dai myai'ee koantaen'tee.

Ai kwee koan dwao'loa_aitaer' - noa
6 Vee'vaa mee tyae-nai,

Een toar'main-toa^eenfaer' noa.
8 Seeny'oa r', dae! paer' pyaitaa,

Laa'shyaamee pyaan'jairai.
10 Laa-shyaa k- ee oa pyaang-gaa

Laa doo-r'aa saor -tai,
12 Ai kai soaspee - -r'ee

Laa leebaer'taa'.
14 Eel dwaol eenfr'aan-gaa

Kwai-stai r'eetaor'-tai
16 Dai myai'^e maar'tee-r'ee
Soal paer' pyaitaa*.

VERBAL GLOSSIC
4. Sweet Im'ej.

Meu-zik bei Merkadan-ti.
Sweet im-ej
2 Ov luv, ov pee-s,

Dhou br'ee-dhest too-dhi soa'l
4 Swee't vig - er.

J If 5 such Milei-t

6 4 Mee 3 en-viest- 2 dhou, Oa hevn,
3 Iz 4 too 5 baa 4 rbur'us

8 [Dhi]

r'g er.

5. A.IOIC dhat ei mai-wee'p.

Meu-zik bei Han-dl.
Aarmee-daa pit'iles
2 Widh-dhi foars ov abis- (hel)

Kar'id-mee of-foa - rsibli from-dhi deer hevn
4 Ov mei konten-ts (hap-ines).

TRANSLATION.

And heer widh disee-t iter-nel
6 Alei-v mee keeps,

In tau-rment infer-nel.
8 Ser, alas ! faur pit'i

Alou mee too-wee-p.

10 Alou- dhat ei mai-wee-p
Dhi- (mei) haa-rd lot,

12 And dhat (ei mai-sei-faur
[Dhi] lib-erti.

14 (Mai) [dhi] disee-t br'aik

Dheez bondz
16 Ov mei suf-ur'ingz

Oa-nli faur pit'i-

228

EXAMPLES OP SONGS IN ITALIAN.

Sec. XV.

^ ORIGINAL ORTHOGRAPHY.

6. Non piu Andrai.

Musica di Mozart.

Non piii andrai, farfallone amoroso,
2 Notte e giorno d'intorno girando,

Delle belle turbando il riposo,
4 Narcisetto, Adoncino d'amor.

Non piu avrai questi bei pennachini,
6 Q,uel cappello leggero e galante,

Quella chioma, quell' aria brillante,
8 Quel vermiglio, donnesco color.

Tra guerrieri puoi far Bacco,
10 Gran mustacchi, stretto sacco,

Schioppo in spalla, sciabla al fianco,
12 Collo dritto, muso franco,

Un gran casco, o un gran turbante,
14 Molto onor, poco contante.

Ed in vece del fandango
16 Una marcia per il fango,

Per montagne, per vafioni,
18 Con le nevi, e i sollioni,

Al concerto di tromboni,
20 Di bombarde, di cannoni,

Chi le palle in tulli i tuoni
22 A 1'orecchia fan fischiar.

Cherubino, alia vittoria !
24 Alia gloria militar !

GLOSSIC PRONUNCIATION.

6. Noan pyoo aandr aa'ee,

Moo-zeekaa dee Moa'tsaar't.
Noan py oo_aandr' aa'se, f aar' f aal-loa -nai_aamoa -
r'oa-zoa, [doa,

Naot'tai_ai jyoa-r'noa d-eentoa-r'noa jeer'aan--
DaiHai baeHai toor'baan-doa^eel r'eepao'zoa

Naar'cheesaet toa,_Aadoanchee-noad-aamoa-r'.
Noan pyoo_aavr'aa-ee kwai'stee bae-ee pain-
naakee-nee, [tai

Kwail kaap-pael'loa laid-jae'r'oa_ai gaalaan*-
Kwail'la kyao-maa, kwaiH- aa-r'yaa br'eel-

laan-tai,

Kwail vaer'mee-ly'oa,doannai - skoakoaloa-r'.
Tr'aa gwair'-r'yae-ree pwao'ee t'aar' Baak-koa,
10 Gr'aan moostaak'kee, str'ait'toa saak'koa,

Skyaop'poa_een spaaHaa, sb.yaa-blaa_aal

fyaang-koa,
12 Kaol'loa dr'eet'toa, moo-zoa fr'aang-koa,

Oongr'aankaas-koa,_ao_oongraantoor'baan t tai.
14 Moa-ltoa_oanoa-r', pao-koa koantaa'ntai.

Aid een vai'chai dail faandaang'goa,
16 Oo'naa maar'-chyaa paer' eel faang-goa,
Paer' moantaa-ny'ai, paer' vaal-loa-nee,
18 Koan lai narvee,_ai_ee soal-leeoa - nee,
Aal koanchaer' -toa dee tr'oamboa-nee,
20 Dee boambaar'-dee, dee kaan-noa-nee,
Kai lai paaHai_een toot-tee twao-nee
22 Aa 1-oar'aik'kyoa faan feeskyaa'r'.

Kair'oobee-noa. aal'laa veet-toa'-r'iaa !
24 Aal'laa gloa'-r'iaa meeleetaa-r'.

VERBAL GLOSSIC TRANSLATION.

6. No moar d/iou-wilt-goa.

Meu-zik bei Moazaart.

Noa moar dhou-wilt-goa, but-erflei anrur'us,
2 Neit and dai [ov] ar'ou-nd ser-kling,

4 0v-[dhi] 5 beu - tiz ^ister'bing 2 dhi 3 r'ipoa'z,
4 Lit-1-Naarsis'us, lit'1-Adoa-nis ov luv.

Noa moar dhou-wilt-hav dheez beuiif uol ploomz,
6 Dhat hat leit and galaa-nt,

Dhat hed-ov-hair, dhat air bril-yent,
Dhat vermil-yen, lardi-leik-(efem-raet)
kul'ur.

Amung- wor'-ierz dhou-kanst maik-(plai-dhi-
paart-ov) Bak-us,

10 Gr'ai't moostaa-shoaz, teit bag (nap sak ,

Mus-ket on shoa'lder, sai-ber at-dhi seid.
12 Nekstr'ait,fiz-(ridik-eulus werdfaur fai's) boald,

A gr'ait hel'met, aur a gr'ait terben,
14 Much on'er, lit'l r'edi-muni.

And in plai-s ov-dhi fandang-goa- daans
16 A maarch thr'oo dhi mud,

Thr'oo mountenz, thr'oo laarj-vaHz,
18 Widh-dhi snoaz, and dhi dog-daiz,

Too-dhi kon-sert of tr'omboa-nz,
20 Ov bum-berdz, ov kan-enz,

Which dhi baulz in aul toanz
22 3 Too 4 dhi 5 ear ^ai'k 2 his.

Ker'oobee-noa, too-[dhi] vikiur'i '
Too-Tdhil 2 gloa-r-r'i 'mil'iter'i !

24 Too- [dhi] 2 gloa

Sec. XV. EXAMPLES OF SONGS IN ITALIAN.

ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION.

229

7. Non e ver ?

Musica di Tito Mattel.

Non e ver P
2 Quando assiso a te vicin

Ti parlai, ben mio, d'amor,
4 Ti ricordi, angel divin,

Palpitaro i nostri cor.
6 Ah ! No, non e ver ! No, nd.

No, none ver! Ah!
8 Tu dicesti, ti sovvieu ?

" Per la vita io t'amero ! "
10 Ma mentisti, indegna, appien,
Non fu il cor che tel detto.
12 Ah ! N6, non e ver ! No, no !

7. Noan ae vai-r ?
Moo-zeekao dee Tee-toa Maat-tae g ee.

Noan ae varr ?
Kwaan-doa aas-see-soa_aa tai veechee-n

Tee paar'laa-ee, baen mee-oa, d- aamoa-r',
Tee reekaor'-dee, aan-jel deevee-n,
Paalpeetaa-roa^ee naos-tr'ee kao'r' ?
Aa ! nao, noan ae vai-r' ! Nao, nao !

Nao, noan ae vai'r' ! A a !
8 Too deechai-stee, tee soav-vyae-n ?

" Paer' laa vee-taa_ee-oa t- aamairao- ! "
10 Maa maintee-stee,_eendai-ny'aa,_aap-pyae-n,

Noan foo^eel kaor' kai tail dait-tao-.
12 Aa ! nao, naon ae varr' ! Nao, nao.

8. Pur dicesti.

Musica di Antonio Lotti.

Pur dicesti, bocca bella !
Quel soave e caro " si ! "

Che fa tutto il mio piacer.
Per onor di sua facella
Con un bacio Amor t'apri,

Dolce fonte del goder.

8. Poor' deechai-stee.
Moo'zeekaa dee Aantao'nee-oa Laot'tee.

Poor' deechai-stee,_oa boak-kaa baeMaa !
Kwail soa-aa-vai_ai kaa-r'oa " see ! "

Kai faa toot'toa eel mee-oa pyaachai-r'.
Paer' oanoa'r' dee soo^aa faachael'laa
Koan oon baa'chyoa_Aamoa r' t- aapree*,

Doa'lchai foa'ntai dael goadai r'.

VERBAL GLOSSIC TRANSLATION.

7. Not iz-fit) tr'oo?

Meu-zik bei Tee-toa Mataree.

Notiz (it) tr'oo?
"When see-ted too dhee neer

(To) dhee (ei)-spoa-k, 2 guod-(deer) ^ei, ov
luv; [divei-n,

-Dhee r'imeindest-(dust dhour'ekolek't), ai-niel
3 Pal-pitated [dhi] ^ur 2 haarts ?

Aa ! noa, not iz-(it) tr'oo ! Noa, noa.

Noa, not iz-(it) troo ! Aa !
8 Dhou sai'dest, dhee dust-dhou-r'imei-nd-(dust

dhou rimenvber) ?
"Thr'oo [dhi] leif ei dhee wil-luv!"

10 But dhou-didst-lei, unwerdhi wun, toa-teli,
Not woz dhi haart dhaat too-dhee-it sed !
12 Aa ! no, not iz-(it) tr'oo ! Noa, noa.

8. Never-dhi-les dhou- sai'dest.

Meu-zik bei Antoa-nio Lot'i

Never-dhi-les dhou-sai'dest, Oa mouth beirti-

fuol!
2 Dhat swee-t and dee-r " yes ! "

Which mai-ks aul [dhi] mei plezh-er.
4 Faur on-er ov hiz feir,

Widh a kis Luv 2 dhee J oa-pend
6 Swee-t fou-nten ov dilei't !

230

EXAMPLES OF SONGS IN ITALIAN.

Sec. XV.

ORIGINAL ORTHOGRAPHY.

9. Possenti Numi.

Musica di Mozart.
Possenti Numi, Iside, Osiri,
2 Date a que'petti senno^e valor !

I vostri lumi la coppia miri
4 E non 1'alletti ombra d' error !

Del bei sentier giunga alia meta,
6 se a lei fier destin lo vieta,

Numi, o date degna merce
8 Delia virtude lor e fe.

10. Qui sdegne non s'accende.

Musica di Mozart.
Qui sdegno non s'accende
2 E soggiornar non sa,

La colpa non offende,
4 Trova Terror pi eta !

Fraterno amor unisce i cor,
6 In pace i di passiam cosi.

L'inganno.qui non ride
8 Nel mascherare il ver : '

Fra noi ciascun divide
10 L'affanno ed il piacer.

In pace i di passiam cosi.
12 Finche si vien d'Osiri in sen.

GLOSSIC PRONUNCIATION.
9. Poas-saen'tai Noo'mee.

Moo-zeekaa dee Moa-tsaar't.
Poas-saen-tai Noo-mee,_Ee-seedai,_Oasee-r'ee,
2 Daa-tai_aa kwai paet-tee sai-nnoa_ai vaaloa-r !

Ee vaos-tr'ee loo-mee la kaop'pyaa mee-r'ee
4 Ai noan 1- aal-laet'tee^.oa - mbr'aa d-air'r'oa-r' !

Dail bael saintyae-r' joong-gaa_aaHaa mae'taa,
6 Ao sai__aa lae-ee fyae-r daistee-n loa vyae-taa,

Noo'mee, oa daa'tai dai-ny'aa mair'char
8 DaiHaa veer'too'dai lao r' ai fai.

10. Kwee zdai'ny'oa noan s- aat-chaen'dal.

Moo'zeekaa dee Moa'tsaar't.
Kwee zdai ny'oa noan s- aat-chaen'dai
2 Ai soad-joar'naa-r noan saa,
Laa koal-paa noan oaf -faen dai,
4 Trao'vaa 1- air'r'oa-r pyaitaa- !

Fraataer''noa^,aamoaT' oonee*shai_ee kao*r',
6 Een paa-chai_ee dee paas-syaa-m koasee-.

L- eengaan-noa kwee noan ree'dai
8 Nail maaskairaa-rai_eel vai-r' :

Fraa noa'ee chyaaskoo'n deevee'dai
10 L- affaan-iioa_aid eel pyaacharr'.

Een paa'chai^ee dee paas-syaa'm koasee',
12 Feenkhai- see vyae-n d- Oasee-r"ee_een sai-n.

VERBAL GLOSSIC

[See Jermen Songz, n. 4, p. 219.]
9. Pou-rfuol Dee-itiz.

M^u-zik bei Moazaa*rt.
Pou'rfuol Dee'itiz, Ei-sis, Oasei'rr'is,
2 Giv too dhoaz br'ests sens and kur' -ej.

[Dhi] 5 eur 6 leits 2 dhi 3 kup-l 1 mai- 4 see,
4 : And 7 not 9 it 2 mai 8 aleu-r 3 (dhi) 4 shad-oa 5 ov
6 er'er !

Ov-dhi beu tifuol paath mai-it-r'eecb. too-dhi

goal- (end),
6 Aur Hf 6 too 7 it-(dhi pair) 2 fee-rs 3 fai't 5 it-(diris)

4 faurbid-z,

Dee-itiz, oa giv wer-dhi r'iwau-rd
8 ^v-dhi 3 ver-teu 2 dhair and fai'th.

TRANSLATION.

[See Jer'men Kongz, n. 5, p. 219.]
10. Hee'r ang'ger 2 not "^itself l inflai'mz.

Meu-zik bei Moazaa'rt.
Hee-r ang-ger 2 not 3 itsel-f J inflai mz,
2 And too dwel not noaz-(kan-ot dwel),

[Dhi] fault- (sin) not ofen-dz,
4 2 Feindz [dhi] 'er-er 2 pit'i !

Fr'ater-nel luv eunei ts dhi haarts,
6 In pee's dhi- v our) dai-z wee-paa-s dhus.

-[Dhi] disee-t 3 heer 2 not Uaa-fs
8 In-dhi maa-sking-ov dhi tr'ooth- (disee-t moks

men not hee - r bei konsee-ling tr'ooth)
Amung- us eech-wun, shai rz
10 [Dhi] sor-oa and [dhi] joi.

In pees dhi darz wee-paa-s dhus,
12 Until --itsel'f kumz-(wun kumz) ov Oasei-rr'is
in'too buoz'em.

Sec. X7.

EXAMPLES OF SONGS IN ECCLESIASTICAL LATIN.

231

ECCLESIASTICAL LATIN
ORIGINAL ORTHOGRAPHY.
ll.Stabat Mater.

Rossmius cantum invenit.

Stabat Mater dolorosa

Juxta crucem lacrymosa
3 Dum pendebat Filius.

Cujus animam gementem,

Contristantem et dolentem
6 Pertransivit gladius.

quam tristis et afflicta
Fuit ilia benedicta
9 Mater Uunigeniti.

Quae moerebat et dolebat,
Et tremebat cum videbat
12 Nati poenas inclyti.

Quis est homo qui non fleret,

Christ! Matrem si videret
15 In tantS supplicio ?

Quis non posset contristari

Piam Matrem contemplari
18 Dolentem cum Filio ?

Pro peccatis suae gentis

Vidit Jesum in tormentls,
21 Et flagellis subditum.

Vidit suum dulcem Natuin

Morientem desolatum
24 Dum emisit splritnm.

ITALIAN PRONUNCIATION.

GLOSSIC PRONUNCIATION.

11. Staa'baat Mda'taer 1 .
Raossee-nioos kaan-toom eenvae'neet.

Staa'baat Maa-taer' dao'laor'ao'saa
Yooks-taa kr'oo'chaem laa-kr'eemao'saa,

3 Doom paendae'baat Feeleeoos.
Koo'yoos aa-neemaam jaemaen-taem
Kaon-tr'eestaan-taem aet daolaen'taem

6 Paer'tr'aansee-veet glaa-dioos.

Ao! kwaam tr'ees'tees aet aaffleek'taa
Foo'eet eel-la bae-naedeek'taa
9 Maa-taer' Oo neejae-neetee,
Kwae maer'ae-baat aet daolae-baat
Aet tr'aemae'baat koom veedae-baat
12 Naa-tee pae-naas eeng-kleetee.

Kwees aest hao'mao kwee nao-n flae-r'aet
Krees-tee Maa-tr'aem see veedae-r'aet

15 Een taaniao soopplee'tseeao ?

Kwees nao-n paos-saet kaon-tr'eestaa-r'ee
Pee'aam Maa'tr'aem kaon'taemplaa-r'ee

18 Daolaen-taem koom Fee-lee-ao?

Prao- paekkaa-tees soo-ae jaen-tees
Vee'deet Yae-soom een taor'maen'tees,

21 Aet flaajael'lees soob'deetooni,
Vee-deet soo-oom dool-ch^em N
MaoT'ee-aen-taem dae-saolaa-toom,

24 Doom aemee'seet spee-reetoom.

VERBAL GLOSSIC TRANSLATION.

11. _3 Woz-* standing ^(dh
Rossee - ni 2 (dhi)- 3 voa-kel- 4 meu-zik ^nven'ted.
3 Woz- 4 standing 1 (dhi)- 2 Mudh-er fuol-ov-gr'eef,
Neer (dhi)-kros, fuol-ov-tee-rz,
3 Wheilst 3 woz- 4 hang-ing 1 (her)- 2 Sun,
2 Hoo-z-(dhi Mudherz) 3 soa-l 4 groa-ning
5 Aflik-ting 6 and 7 gree-ving
6 IO Haz-"paat- 1 throo 8 [a]- 9 soa-rd.

Oa! hou sad and aflik'ted
Woz that bles-ed

9 Mudh-er ov-(dhi)-0a-iili-bigot'n,
Hoo woz-moo-rning and woz-gr'ee-ving
And woz-tr'em-bling when (shi)-woz-see-ing
12 3 Ov- 4 (her)- 6 Sun Mhi- 2 pai-nz [ov]- s sel-ibraited.

Hoo' iz (dhi)-man ^oo 3 not 2 wuod- 4 wee-p
6 Kreists 6 Mudh-er Hf 2 (hi)- 3 shuod 4 see

15 In soa-grai't pun-ishment- aflik-shen) ?
a Hoo- 5 not 2 wuod- 3 bi- 4 ai-bl 6 too- 7 bee- 8 aflik'ted
n (Dhi)- 12 pei'us 13 Mudh-er 9 too- 10 kon-templait-
at kon-templai-ting),

18 Gree-ving widh (her) -Sun ?

Faur (dhi)-sinz ov-hiz pee pi

(Shi)-sau' Jee-zus in tau'rments,
21 And bei skerjez subdeu d,

(Shi)-sau- her swee t Sun

Dei -ing faursarkn
24 Wheil (hi)-eemit-ed (hiz)-breth.

EXAMPLES OF SONGS IN ECCLESIASTICAL LATIF.

Sec XV.

ORIGINAL ORTHOGRAPHY.

Stabat Mater Supplementum.

EEja, Mater, fons am5ris !

Me sentire vim dolSris
27 Fac et tecum lugeam.

Fac ut ardeat c5r meum,

In amandd Christum Deum,
30 Ut sibi complaceam.

Sancta Mater, istud agas,

Crucifix! fige plagas
33 Cordi meo valide.

Tu! Nat! vulnerati,

Jam dignati pro me pat!,
36 Poenas mecum divide.

Fac me vere tecum flere,

Crucifixo condolere,
39 Donee ego vixero.

Juxta crucem tecum stare

Me libenter sociare
42 In planctu desidero.

VirgS, virginum praeclara,
Mihi jam non sis amara

45 Fac me tecum plangere.

Fac ut portem Christ! Mortem,
Passionis fac consortem,

48 Et plagas recolere.

GLOSSIC PRONUNCIATION.

Staa'baat Maa'taer 1 Soop'plaemaen room.

Ae-yaa ! Maa-taer', faons aamao'r'ees !

Mae saentee-r'ae veem daolao-r'ees
27 Faa'k, aet tae'koom loo jae-aam.

Faa'k oot aa-r'dae-aat kao r ! mae oom

Een aamaan-dao Kr'ees'toom Dae'oom
30 Oot see-bee kaomplaa-chae-aam.

Saangk-taa Maa'taer', ees-tood aa-gaas,
Kr'oo'seefeek-see fee-jae plaa'gaas

33 Kaor'dee mae-ao vaa-leedae.
Too'ee Naa-tee vool-naer'aa-tee,
Yaam deegnaa-tee pr'ao mae paa'tee,

36 Pae-naas mae-koom dee-veedae.

Faa'k mae vae-r'ae tae-koom flae'r'ae,
Kr'oo-seefeek'sao kaon-daolae r'ae,

39 Dao'naek ae'gao veek-saer'ao ;

Yooks'taa kr'oo'chaem tae'koom staa'r'ae,
Mae leebaen'taer sao'tsee-aa-r'ae

42 Een plaangk-too daesee'daer'ao.

Veer'-gao veer'-jeenom praeklaa-r'aa
Mee-hee yaam nao - n sees aamaa'r'aa

45 Faa'k mae tae'koom plaan jaer'ae,

Faa'k oot paor''taem Krees'tee maor'*taem
Paas'seeao'nees faa-k kaonsaor'-taem,

48 Aet plaa'gaas r'aekao'laer'ae.

VERBAL GLOSSIC TRANSLATION.

8 Woz-^stdnding l (dhi] 2 Mudher Kuntin'euai'shen.

Hoa' ! Mudh-er, fount ov-luv !

2 Mee too-fee 1 (dhi)-foa'rs ov-gree-f
27 ^au-z, and widh-dhee- mai-ei-moorn.

Kau-z dhat mai-bern 2 haa'rt ^ei

In luv ing Kr'eist God,
30 Dhat himself- (ei mai-pleez.

Hoali Mudh-er, dhis doo-,

5 0v- 6 (dhi> - 7 Kr oosifeid - 8 Wun 2 fiks 3 (dhi)-

4 str'eips

33 [Too]- n haa'rt 9 too- 10 mei ^ao-rsibli,
6 0v- 7 dhei [ov] 9 Sun [ov]- 8 woo-nded,
( 10 Hoo n haz) 12 aulr'ed-i 13 dai'nd 16 faur 17 mee

14 too- 15 suf'er
36 4 (Dhi)- 5 pai-nz 2 widh- 3 mee Miverd^shai-r).

Kau-z mee tr'oo li widh-dhee too-wee'p,
(Dhi)-Kr'oo-sifeid-Wun too-gr'ee-v widh,

39 Az-long-az ei shal-liv ;

Neer (dhi)-kros widh-dhee- too-stand,
Mee wil-ingli (widh-dhee) too-asoa'shiait

42 In lam'entai-shen (ei -dizei'r.

8 Ver-jin 3 ov-ver-jinz
4 Too- 5 mee 6 nou 2 not : bee 3 bit'er,

Kau z mee widh-dhee too-lumen't,
Kau-z dhat (ei)-mai-kar'-i Kr'eists deth,
Ov-(hiz -pash-en kauz-(mee-too-be) asoa'shiet,

And (hiz -str'eips too-kuHivait-unetr.

SeC. XV. EXAMPLES OF SONGS IN ECCLESIASTICAL LATIN. 233

ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION.

Stabat Mater Supplementum.

Fac me plagis vulnerari,

Cruce hac inebriari
51 Ob amorem Filii.

Inflammatus et accensus

Per te, Virgo, sim defensus
54 In die judicii.

Fac me cruce custodm,
Morte Christ! praemuniri,

Confoveri gratia.
Q,uando corpus morietur,
Fac ut anima donetur

Paradisi gloria.

A Am en !

In sempiterna saecula,
AAmen.

Staa-bdat Maataer' Soop-plaemaen'toom.

Faa*k mae plaa-jees vool-naer'aa'r'ee,
Kr'oo'chae haa k eenae'br'eeaa'r'ee

51 Aob aamao r'aem Fee-lee-ee.

Een-flaammaa-toos aet aatchaen-soos,
Paer' tae-, Veer'-gao, seem daefaen-sooa

54 Een dee-ae yoodee-tsee-ee.

Faa'k mae krocrchae koos-taodee'r'ee,
Maor'-tae Kr'ees-tee prae-moonee-r'ee,

57 Kaonfaovae'r'ee gr'aa'tseeaa.

Kwaan-dao kaor'-poos mao'r'eeae'toor',
Faa-k oot aa'neemaa daonae'toor

60 Paa-r'aadee-see glao-r'eeaa.

Aa-mae'n !

Een saenvpeetaer'-naa sae'koolaa,
Aa-mae-n !

VERBAL GLOSSIC TRANSLATION.

8 Woz-^standing l (dhi)-*Mudh-er Kuntin-euai-shen.

Kau-z mee widh- hiz)-str'eips too-be-woo'nded,

3 Kros 1 widh- 2 his too-be-inee'briaited
51 On-ukou-nt-ov (dhi)-luv ov-(eur)-Sun.

Inflarmd and set-on-feir,

Bei dhee ? Verjin, mai-ei-bee difen'ded
54 In (dhi)-dai ov-juj-ment.

Kau-z mee bei-(dhi)-kros too-be-gaa'rded,
Bei- dhi)-deth ov-Kr'eist too-bee-proatek ted,

Too-bee-much-cherisht bei-gr'ai's.
When (mei)-bodi shall -dei
Kau'z dhat (mei)-soa*l mai-bee-prizen-ted

4 0v- 5 par'-udeis I <f

Ai-men- !

Lrtoo everlaasting ai'jiz,
Ai men- !

234

EXAMPLES OF SONGS IN FRENCR.

(C. XV.

III. FRENCH SONGS.

ORIGINAL ORTHOGRAPHY.

GLOSSIC PRONUNCIATION.

1. Ou voulez-vous aller ?

1. Oo voolai-vooz aalai ?

Musique de Gounod.

Muezeek deo Goonoa.

Dites, la jeune belle,
Ou voulez-vous aller?
La voile ouvre son aile,
La brise va souffler !

2
4

Deeteo, laa zhoeneo baebo,
Oo voolai-vooz aalai ?
Laa vwaal oovr'eo saon aeleo,
Laa br'eezeo vaa sooflai !

6
8
10

L'aviron est d'ivoire
Le pavilion de moire,
.Le gouvernail d'or fin.
J'ai pour lest une orange,
Pour voile une aile d'ange,
Pour mousse un seraphin.

6
8
10

L-aaveeroan' ae d-eevwaarVo,
Leo paaveeyoan' deo mwaar'eo,
Leo goovaer'naaee d-aor' faen'.
Zh-ai poor' laest uen oar'ahn'zheo,
Poor' vwaal uen aeleo d-ahn zheo,
Poor' moos oen' sair'aafaen'.

12
12
16

Est-ce dans la Baltique f
Sur la mer pacifique ?
Dans 1'ile de Java ?
Ou bien dans la Norwege,
Cueillir la fleur de neige ?
Ou la fleur d'angsoka ?

12
14
16

Ae-seo dahn' laa Baalteekeo ?
Suer' laa maer' paaseefeekeo ?
Dahn' 1-eeko deo Zhaavaa ?
Oo byaen' dahn' laa Naor'vaezhco,
Koeyyeer' laa floer' deo naezheo ?
Oo laa floer' d-ahn'saokaa ?

18
20
22

" Menez-moi," dit la belle,
'A' la rive fidele,
" Ou Ton aimo tou jours."
Cette rive, ma chere,
On ne la connait guere,
Au pays des amours.

18
20
22

" Meonai-mwaa," dee laa baeleo,
" Aa laa r'eeveo feedaeleo,
" Oo 1-oan aimeo toozhoor'."
Saeteo r'eeveo, maa shaerVo,
Oan' neo laa kaonae gaerVo,
Oa pai-ee daez aamoor'.

VERBAL GLOSSIC TRANSLATION.

1. Whidh-er wish-eu (too) goa ?

Meu-zik bei Guon'oa.

Sai, dhi-(mei) yung beu-ti,
2 Whidh-er wish-yoo (too) goa ?

Dhi saii oa-pnz its wing,
4 Dhi br'ee-z iz-goa'ing (too) bloa.

Dhi-oa-r iz ov-ei-vur'i,
6 Dhi flag ov wau'terd silk,

Dhi helm ] ov- 3 goald 2 peur.
8 Eihav faur bal-est an or'-enj,

Faur sail a wing ov-ai-njel,
10 Faur kab'in-boi a ser'-af.

Iz-it in-too dhi Bau-ltik ?
12 Upon- dhi 2 see iPasif-ik ?

In'too dhi-eil ov Jaa'vaa ?
14 Aur wel-(else in-too [dhi] Nau rwai,

(Too) gadh-er dhi flour ov snoa ?
16 Aur dhi flour ov-Aashoa-kaa-(" Jonesia
Asoka" Joanee zhia Asoa-ka, dhi fei 'nest
flou-rr'ing shr'ub in India).

"Tark-mee," sez dhi beu-ti,
18 Too dhi 2 shoar ^aiihfuol,

" Whair wun luvz au'lwaiz."
20 Dhat shoa-r, mei deer,

-Wun not it noaz haardli-(is skai-rsli noa-n)
22 In-dhi kmrtr'i ov luvz.

Sec. XV.

EXAMPLES OF SONGS IN FRENCH.

235

ORIGINAL ORTHOGRAPHY.

2. Serenade (Berceuse).
Poesie de Victor Hugo, musique de Gounod.

Quand tu chantes bercee
2 Le soir entre mes bras,

Entends-tu ma pensee
4 Qui te repond tout bas ?

Ton doux chant me rappelle
6 Les plus beaux de mes jours ;

Ah ! chantez ma belle,
8 Chantez, chantez, toujours.

Quand tu ris, sur ta bouche
10 L' amour s'epanouit,

Et soudain le farouche
12 Soupqon s'evanouit.

Ah! lerirefidele
14 Prouve un coeur sans detours ;

Ah ! riez. ma belle,
16 Riez, riez toujours.

Quand tu dors calme et pure,
18 Dans 1'ombre, sous mes yeux,

Ton haleine murmure
20 Des mots harmonieux ;

Ton beau corps se revele
22 Sans voile et sans atours,

Ah ! dormez, ma belle,
24 Dormez, dormez toujours.

GLOSSIC PRONUNCIATION.

2. Snir'ainaad (Baer'soez).

Poa-aizee deo Veektaor' Ue-goo, muezeek deo

Goonoa.

Kahn' tue shahn'teo baer'sai-eo
2 Leo swaar ahn tr'eo mae braa,

Ahn'tahn' tue maa pahn'sai-tfo
4 Kee teo r'aipoan' too baa ?

Toan' doo shahn' muo r'aapaeLw
6 Lae plue boa deo mae zhoor' :

Aa ! shahn'tai, maa baelew,
8 Shahn'tai, shahn'tai toozhoor'.

Kahn' tue r'ee, suer' taa boosht'o
10 L-aamoor' s- aipaanoo-ee,

Ai soodaen' leo faar'oosheo
12 Soopsoan' s- aivaanoo-ee.

Aa ! leo r'eer eo feedaeleo
14 Proov oen' koer' sahn' daitoor' ;

Aa! r'ee-ai, maa baebfl,
16 R'ee-ai, r'ee-ai too-zhoor'.

Kahn' tue daor' kaalm ai puereo
18 Dahn' 1- oan'breo, soo inaez yeo,

Taon aalaeneo maer'muerVo
20 Dae moaz aar'maonieo ;

Toan' boa kor' seo r'aivaeleo
22 Saan' vwaal ai saan'z aatoor,

Aa ! daor'mai, maa baeleo,
24 Daor'mai, daor'mai toozhoor'.

VERBAL GLOSSIC TRANSLATION.

2. Ser'-inaid (R'oking Song, Lul-ubi).
Poa-em bei Vik'ter Heugoa, meu-zik bei Guon'oa.

When dhou sing-est, rokt
2 (In) dhi ee - vning, bit wee TI mei aarmz,

Hee-rr'est dhou mei thau't,
4 Which (too) dhee r'iplei'z aul-(kweifi loa ?

Dhei soft song (too) mee r'ikau'ls
6 Dhi moa-st beu-tifuol ov mei daiz ;

Aa ! sing, mei beu'ti,
8 Sing, -sing for'-ever (goa on singling).

When dhou laa'fest, upon- dhei mouth
10 [Dhi] luv itsel'f ekspan-dz,

And sud-enli [dhi] fee - rs
Suspish-en [itself] van-ishes.

Aa! [dhi] 2 laa-f 'farthfuol
14 Pr'oo'vz a haart widhout weilz :

Aa ! laa-f, mei beu'ti,
16 Laa-f, -laa-f for' ever- (goa on laa-fing).

When dhou slee'pest, kaam and peur,
18 In dhi shaid, under mei erz,

Dhei br'eth mermerz
20 [Ov-dhi] 2 werdz ^aarmoa-nius ;

Dhei beu-tifuol fig-eur 2 itsel-f ^'iveeiz
22 Widhou-tkonsee-lment and widhout adau-ra.
ment,

Aa ! sleep, my beu-ti,
24 Sleep, -sleep for' ever- (goa on slee-ping).

236

EXAMPLES OF SONGS IN FRENCH.

Sec. XV

ORIGINAL ORTHOGRAPHY.

3 Robert ! toi que faime !
Poesie de Scribe, musique de Meyerbeer.

Isabelle.
Robert ! toi que j'aime

2 Et qui re9us ma foi ;
Tu vois mon effroi,

4 Grace pour toi-meme
Et grace pour moi !

Robert.
6 Non, non, non, non.

Isabelle.
Grace pour moi, pour toi.

3 Quoi ? ton coeur se degage

Des sermens les plus doux !
10 Tu me rendis hommage,

Je suis a tes genoux !
12 Grace pour toi-meme

Et grace pour moi.

Robert.
14 Non, non, non, non.

Isabelle.
Grace pour toi, pour moi.

16 mon bien supreme

Toi que j'aime,
18 Tu vois mon effroi,

Grace pour toi-meme
20 Et grace pour moi.

GLOSSIC PRONUNCIATION.

3. Raobaer' ! twaa keo zh-aimeo !
Poa-aizee deo Skreeb, muezeek deo Maayerbarr'

Eezaabael.

R'aobaer' ! twaa keo zh- aimeo,

2 Ai kee r'eosue maa fwaa,

Tue vwaa maon aef r' waa,

4 Gr'aaseo poor twaa-maem^o

Ai gr'aaseo poor' mwaa!

Raobaer' .
6 Noan', noan', noan', noan'.

Eezaabael.
Gr'aaseo poor' mwaa, poor' twaa.

8 Kwaa ? toan' koer' seo daigaazheo
Dae saer'mahn' lae plue doo!

10 Tue meo rahn'deez aomaazheo,
Zheo siieeez aa tae zheonon !

12 Gr'aaseo poor' twaa-maemeo,
Ai gr'aaseo poor' mwaa.

Raob'ier .
14 Noan', noan', noan', noan'.

Eezaabnel.
Gr'aasw poor' mwaa, poor twaa.

16 Oa moan' byaen' suepr'aemw

Twaa keo zh- aimeo,
18 Tue vwaa maon aef r' waa,

Gr'aastfo poor' twaa-maemeo
20 Ai gr'aaseo poor' mwaa.

VERBAL GLOSSIC TRANSLATION.

3. Rob'ert ! dhou hoom ei Ittv !
Poa'em bei Skree'b, meu'zik bei Mei'erbair.

Izabel'.

Rob'ert ' dhou hoom ei luv,
2 And hoo r isee-vd mei farth,

Dhou see'est mei dr'ed,
4 Paa'rden faur dhei-seH,
And paa'rden faur mee !

6 Noa, noa, noa, noa.

Izabel'.
Faa'rden faur mee, faur dhee.

8 Whot? dhei haart itsel'f disengai'jez

From-dhi vouz dhi moast soft- luving)
10 Dhou too-mee didst-ren-der hom-ej,

Ei am at dhei nee - z.
12 Paa'rden faur dhei-sel-f,
And paa'rden faur mee'

Rob-ert.

14 Noa, noa. noa, noa.
Izabel-.

Paa'rden faur mee, faur dhee
16 Oa mei 2 guod ^eupree'm,

Dhou hoom ei luv,
18 Dhou see-est mei dr'ed,

Paa'rden faur dhei-sel'f,
20 And paa'rden faur mee.

Sec. XV.

EXAMPLES OF SONGS IN FRENCH.

237

ORIGINAL ORTHOGRAPHY.

4. La Manola.

Musique de Paul Henrion.

De 1'Aragon, de la Castille,
2 Toi que Ton dit la plus "-entille,

Accours vers nous sous ta mantille,
4 Pourquoi tarder, O Juanetta!

N'entends-tu pas les farandoles ?
6 Les vives danses Espagnoles,

Des Manolas jeunes et folles,
8 Au loin chantant, dansant deja ?

Allons, ma belle, allons, ma reine,
10 Vite au prado, chacun est la,

Pret a feter la souveraine
12 De la Jota Aragonesa !

Ne sais-tu pas que la Murcie,
14 Que Grenade et 1'Andalousie,

Ont envoy e la plus jolie
16 Des Manolas pour la Jota ?

Allons, enfant, la nuit nous gagne,
18 Deja Madrid est en campagne

Pour voir danser la fleur d'Espagne,
20 Qui ne vaut pas ma Juanetta !

Allons, ma belle, allons, ma reine,
22 Vite au prado, chacun est la,

Pret a feter la souveraine
24 De la Jota Aragonesa !

GLOSSIC PRONUNCIATION.

4. Laa Maanaolaa (dhi Spanish werdz aar hecr
proanou-nst az French werdz.)

Muezeek deo Poal Ahn'ree-oan'.
Deo 1- Aar'aagoan', deo laa Kaasteey^o,
2 Twaa keo 1- oan' dee laa plue zhaan'teeyew,

Aakoor' vaer' noo soo taa maan'teeyeo,
4 Poor'kwaa taar'dai, oa Zhueaanaetaa.

N-ahn'tahn' tue pah lae faar'aan'daoleo ?
6 Lae veeveo dahn'seoz Aespaany'aoleo,

Dae Maanaolaa, zhoeneoz ai faoleo,
8 Oa Iwaen' shahn'tahn', dahn'sahn' daizhaa?

Aaloan', maa bael; aaloan', maa r'aeneo,
10 Veet oa pr'aadoa, shahkoen n ae laa,

Pr'aet oa faitai laa sooveor'aeneo
12 Deo laa zhoataa Aar'aagoanaezaa !

Neo sae-tue pah keo laa Muer'see-00
14 Keo Gr'eonaad ai 1- Ahn'daaloozee-^o,

Oan't ahn'vwaayyai laa plue zhaolee-eo
16 Dae Maanaolaa poor laa Zhoataa ?

Aaloanz, aan'faan', laa nue-eet noo gaany'eo,
18 Daizhaa Maadr'ee aet aan' kaan'paany'eo,

Poor' vwaar' dahn'sai laa floeur' d-Aespaany'*
20 Kee neo voa pah maa Zhueaanaettaa !

Aaloan', maa bael; aaloan', maa r'aen^o,
22 Veet oa pr'aadoa, shahkoen'n ae laa,

Pr'aet oa faitai laa sooner aeneo
24 Deo laa zhoataa Aaar'aagoanaezaa !

VERBAL GLOSSIC TRANSLATION.

4. Dhi Maanao-laa (daa-nsing gerl--dhi Span-ish
werdz aar heer restao-rd too dhair Spanish
soundz, eksept when naimz ov plarsez, which
hav dhair' Ing- glish soundz).

Meu-zik bei Paul Hen'r'ien.

Fr'om [dhi] Ar'-agen, fr'om [dhi] Kaastee'l,
2 Dhou hoom [dhi] wun kau-lz dhi moast darnti,
Run-too toardz us un-der dhei maantee'ly'aa-

(huod ,

4 Whei dilai , Khwaanaet'taa
Not-hee'rr'estdhou [at-aul] dhifaar'aan-doolaaz-

(Span-ish kurn-puniz ov komee'dienz),
6 Dhi lei-vli daansez Span-ish,

Dhi Maanao'laaz, yung and mad,
8 At dis'tens sing-ing, daan-sing aulr'ed'i?
Kum-on, mei beu-ti ; kum-on, mei kwee-n,
10 Kwik too-dhi pr'aa - doa-(publik gaar'denz),
eech-wun iz

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Full text of "Pronunciation for singers : with especial reference to the English, German, Italian, and French languages; with numerous examples and exercises for the use of teachers and advanced students"

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